Wind onshore 12.6 GW dominates the right two-thirds of the scene as dozens of tall three-blade turbines with white tubular towers and nacelles stretching across rolling central German farmland into the deep distance; wind offshore 3.5 GW appears as a cluster of larger turbines on a dark horizon line at far right, their red aviation warning lights blinking; brown coal 3.5 GW occupies the left foreground as a pair of massive hyperbolic cooling towers emitting thick white steam plumes, beside a lignite conveyor system; biomass 4.2 GW is rendered as a mid-sized industrial facility with rectangular woodchip silos and a single smokestack with a faint warm exhaust glow, positioned left of centre; natural gas 3.2 GW appears as a compact CCGT plant with a tall slender exhaust stack and a smaller heat-recovery steam generator, situated centre-left with a visible gas pipeline; hard coal 1.2 GW is a smaller conventional power station with a single squat chimney in the far left background; hydro 1.2 GW is suggested by a small dam and penstock visible in a river valley in the middle distance. The time is 04:00 at night — the sky is completely dark, deep navy-black, no twilight, no sky glow, with scattered stars visible through roughly 50% broken cloud cover. All structures are lit only by sodium-orange industrial lighting, red obstruction lights on turbine nacelles, and the warm amber glow from plant windows. The temperature is 5.3°C in late April — bare-branched trees are just beginning to show early spring buds, and a light ground frost glistens under the artificial lights. The atmosphere feels heavy and oppressive, with low haze around the cooling towers reflecting the high electricity price. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painting — rich, dark colour palette with deep blues, blacks, warm oranges, and cool greys, visible confident brushwork, atmospheric depth and chiaroscuro, meticulous engineering detail on every turbine nacelle, cooling tower, and exhaust stack. The composition evokes Caspar David Friedrich's sense of sublime scale, but applied to an industrial energy landscape. No text, no labels.