ABSTRACT
In Northern European graphic arts, the social margins of war are potent sites for the construction of corporeal experience at the turn of the sixteenth century. Changes in gunpowder technology prompted new reckonings with the disabled body both on and off the battlefield as artists drew not only soldiers but also military sex workers. This chapter considers the intersections of gender and war, and how artworks can enact a material performance of social violence by how they frame and divide the disabled body in pictorial space.
