Russia’s president is only interested in a deal on Moscow’s terms. Equipping Kyiv with the resources to fight on is the quickest route to a just settlement

As Donald Trump’s Thanksgiving Day deadline for a Ukraine peace agreement came and went this week, the Russia expert Mark Galeotti pointed to a telling indicator of how the Kremlin is treating the latest flurry of White House diplomacy. In the government paper Rossiyskaya Gazeta, a foreign policy scholar close to Vladimir Putin’s regime bluntly observed: “As long as hostilities continue, leverage remains. As soon as they cease, Russia finds itself alone (we harbour no illusions) in the face of coordinated political and diplomatic pressure.”

Mr Putin has no interest in a ceasefire followed by talks where Ukraine’s rights as a sovereign nation would be defended and reasserted. He seeks the capitulation and reabsorption of Russia’s neighbour into Moscow’s orbit. Whether that is achieved through battlefield attrition, or through a Trump-backed deal imposed on Ukraine, is a matter of relative indifference. On Thursday, the Russian president reiterated his demand that Ukraine surrender further territory in its east, adding that the alternative would be to lose it through “force of arms”. Once again, he described Volodymyr Zelenskyy’s government as “illegitimate”, and questioned the legally binding nature of any future agreement.

Do you have an opinion on the issues raised in this article? If you would like to submit a response of up to 300 words by email to be considered for publication in our letters section, please click here.

Capturing the changing landscapes of the 18th century, the rivals transformed British art. The climate emergency gives new urgency to their work

JMW Turner appears on £20 notes and gives his name to Britain’s most avant garde contemporary art prize. John Constable’s work adorns countless mugs and jigsaws. Both are emblematic English artists, but in the popular imagination, Turner is perceived as daring and dazzling, Constable as nice but a little bit dull. In a Radio 4 poll to find the nation’s favourite painting, Turner’s The Fighting Temeraire – which even features in the James Bond film Skyfall – won. Constable’s The Hay Wain came second. Born only a year later, Constable was always playing catch-up: Turner became a member of the Royal Academy at 27, while Constable had to wait until he was 52.

To mark the 250th anniversary of their births, Tate Britain is putting on the first major exhibition to display the two titans head to head. Shakespeare and Marlowe, Mozart and Salieri, Van Gogh and Gauguin – creative rivalries are the stuff of biopics. Mike Leigh’s 2014 film shows Turner (Timothy Spall) adding a touch of red to his seascape Helvoetsluys to upstage Constable’s The Opening of Waterloo Bridge at the Royal Academy Summer Exhibition of 1832. Critics delighted in dubbing them “Fire and Water”. The enthralling new Tate show is billed as a battle of rivals, but it also tells another story. Constable’s paintings might not have the exciting steam trains, boats and burning Houses of Parliament of Turner’s, but they were radical too.

Do you have an opinion on the issues raised in this article? If you would like to submit a response of up to 300 words by email to be considered for publication in our letters section, please click here.