Don Eddy (born 1944) is a contemporary representational painter. He gained greeting in American art more or less 1970 amid a charity 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 without difficulty as Eddy himself) have resisted such labels as superficially focused upon obvious aspects of his painting while ignoring its specific sociological and conceptual bases, dialectical association 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 unknown reality in view of that that they seem in imitation of sacred mysteries.” Eddy has worked in cycles, which treat various imagery from substitute 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 yet lifes and figurative/landscapes scenes in the 1980s to technical multi-panel paintings in his latter career. He lives in New York City afterward his wife, painter Leigh Behnke.
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