While he already had worked with metal at a young age, Linossier subsequently went to work for the master of dinanderie (copper work), Jean Dunand. Alongside Dunand, he caught sight of all of the perspectives of an art that both of them would vivify and revitalize.
Wanting to go further in his studies, Linossier finished by leaving Paris to return to his birthplace in Lyon. He received a grand prize at l’Exposition Internationale (The International Exposition) of 1937. Linossier participated regularly in international expositions.
Dinanderie, like weaving, is a difficult profession. The technique of metalwork is primitive and arduous: the artisan, by hammering sheet metal on the anvil, imposes a form that slowly rises and recedes.
The forms invented by Linossier are simple: round vases, bowls, plates. The decoration itself is designed as a function of the form that highlights essential rhythms.
Linossier never used enamels or lacquers. By a very personal technique, his decorations were formed by deposits of metals given a patina from using acid over a certain amount of time; later, he renounced this process as too unstable and definitively adopted oxidation via a torch.
Cf. Mobilier et Décoration, 5 juin 1954.