Austin Cedric Gibbons, Irish American art director and production designer for the film industry, is born in Dublin on March 23, 1893. He also makes a significant contribution to motion picture theater architecture from the 1930s to 1950s.
Gibbons was born to architect Austin P. Gibbons and Veronica Fitzpatrick Simmons. He is privately tutored and studies at the Art Students League of New York. In 1911 he begins working in his father’s office as a junior draftsman. From 1915 he serves as art director at Edison Studios in New Jersey and then serves in the United States Navy during World War I. He then joins Goldwyn Studios and begins a long career with Metro-Goldwyn-Mayer in 1924, the year the studio is founded.
Gibbons is one of the original 36 founding members of the Academy of Motion Picture Arts and Sciences and oversees the design of the Academy Awards statuette in 1928, a trophy for which he himself would be nominated 38 times for Best Production Design, winning eleven.
In 1930, Gibbons marries actress Dolores del Río and co-designs their house in Santa Monica, an intricate Art Deco residence influenced by Rudolf Schindler. They divorce in 1941. Three years later he marries actress Hazel Brooks, with whom he remains until his death.
Gibbons’s set designs, particularly those in such films as Born to Dance (1936) and Rosalie (1937), heavily inspire motion picture theater architecture in the late 1930s through 1950s. The style is found very clearly in the theaters that are managed by the Skouras brothers, whose designer Carl G. Moeller uses the sweeping scroll-like details in his creations. Among the more classic examples are the Loma Theater in San Diego, The Crest in Long Beach and Fresno, and the Culver Theater in Culver City. The style is sometimes referred to as Art Deco and Art Moderne.
Gibbons retires in 1956 with about 1,500 films credited to him, however, his contract with MGM dictates that he receive credit as art director for every MGM film released in the United States, even though other designers might do the bulk of the work. Even so, his actual hands-on art direction is believed to be about 150 films.