Form is meaningless without content, so I consider content more important. I feel that I should derive my creative activity from the deeper thoughts of the Orient, from a feeling that has its roots in Japanese nature and the Japanese way of living. Interviewed in the 1970s, Kitaoka said about his mid-career prints that, "I want to express through the profundity of nature and the feeling of eternity. In the mid-60s, Kitaoka taught at the Minneapolis School of Art, where he was a Fulbright visiting professor (1964-65), and at the Pratt Graphic Arts Center in New York. While active within the Onchi circle, Kitaoka produced some abstract work and contributed designs to Ichimokushû (First Thursday Collection: 一木集) issues IV to VI (plus the cover for IV, 1948), the important portfolios produced by the Ichimokukai (First Thursday Society: 一木会) headed by Onchi. Kitaoka also became one of the many disciples of the seminal figure in abstract and experimental print design, Kôshirô Onchi. His experiences in China led to the social-realist series titled Sokaku e no tabi (Return to the home country: 祖国への旅) in 1947 (see below). Graduating during the Second World War, Kitaoka initially taught art in Tokyo, but in January 1945 he was stationed as an art instructor in occupied Manchuria. Hiratsuka was one of the principal figures in the sôsaku hanga movement who, between 19, taught the first block-printing course at the school. Kitaoka Fumio (北岡文雄 1918-2007) studied printmaking with Hiratsuka Un'ichi at the Tokyo Bijutsu Gakko (Tokyo School of Fine Arts, 東京美術学校).
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