Solar 23.2 GW occupies the broad centre-right as vast fields of aluminium-framed crystalline silicon PV panels stretching across flat farmland, reflecting only flat grey light under total overcast; brown coal 8.2 GW dominates the far left as a cluster of massive hyperbolic concrete cooling towers with thick white steam plumes rising into the heavy sky, beside open lignite pits with terraced brown earth; natural gas 6.8 GW sits centre-left as a compact CCGT power station with tall slender exhaust stacks emitting thin heat shimmer; hard coal 3.7 GW appears behind the gas plant as a smaller coal station with a single rectangular chimney and conveyor belts feeding dark fuel; wind onshore 4.1 GW shows as a modest line of three-blade turbines on a low ridge in the right background, blades turning slowly; biomass 4.0 GW is a wood-chip-fed plant with a rounded silo and low smokestack near the wind turbines; hydro 1.6 GW appears as a small concrete dam and spillway in the far right valley; wind offshore 0.1 GW is suggested by a single distant turbine barely visible on the horizon line. The sky is entirely overcast at 15:00 in May — flat, featureless, oppressively grey-white cloud layer from horizon to zenith, diffuse daylight with no shadows, no blue sky visible anywhere. The atmosphere feels heavy and close, hinting at the 107.5 EUR/MWh price pressure. Vegetation is spring-green but muted under the dull light, with dandelions and young grass in the foreground. Temperature around 9.5°C suggested by figures in light jackets near the gas plant. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich layered colour despite the grey palette, visible confident brushwork, meticulous atmospheric depth with subtle tonal gradations in the cloud mass. Each energy technology is painted with precise engineering detail: turbine nacelles and lattice towers, PV panel grid patterns, cooling tower parabolic curves, CCGT exhaust geometry. The composition evokes Caspar David Friedrich's sense of human smallness before vast landscapes, but filled with industrial infrastructure. No text, no labels.