Don Eddy (born 1944) is a contemporary representational painter. He gained response in American art in relation to 1970 surrounded by a bureau of artists that critics and dealers identified as Photorealists or Hyperrealists, based on their work's tall degree of verisimilitude and use of photography as a resource material. Critics such as Donald Kuspit (as skillfully as Eddy himself) have resisted such labels as superficially focused upon obvious aspects of his painting even if ignoring its specific sociological and conceptual bases, dialectical connection to abstraction, and metaphysical investigations into acuteness and being; Kuspit wrote: "Eddy is a nice of an alchemist … art transmutes the profane into the sacred—transcendentalizes the base things of shadowy reality therefore that they seem once sacred mysteries." Eddy has worked in cycles, which treat various imagery from swing formal and conceptual viewpoints, moving from detailed, formal images of automobile sections and storefront window displays in the 1970s to perceptually challenging mash-ups of still lifes and figurative/landscapes scenes in the 1980s to highbrow multi-panel paintings in his latter career. He lives in New York City taking into consideration his wife, painter Leigh Behnke.