[1] One of Morot's last contributions to the French Artists' Salon de Paris was a painting of his children called Brother and Sister (Frere et Soeur) in 1911.

[16] In the 1880s, Morot worked at the Académie Julian, where he was a colleague of William-Adolphe Bouguereau (1825–1905) with whom he co-supervised the British cartoonist and illustrator Sir Leonard Raven-Hill (1867–1935) in 1885 and 1886.

Theodor Pallady (1871–1956) and Gaston Hippolyte Ambroise Boucart (fr) (1878–1962), former pupils of Gustave Moreau, continued their studies under Aimé Morot.

[2] Henry Golden Dearth (Bristol, 1864), a bronze medal winner at the same Paris Exhibition of 1900, was one of his British students,[18] as were Dawson Dawson-Watson (1864–1939) and James Whitelaw Hamilton (1860–1932).

His American apprentice artists included Benjamin Foster (1852–1926), Edmund Clarence Messer (1842–1919; elected Principal of Corcoran School of Art in 1902), Gaylord Sangston Truesdell (1850–1899), George Henry Bogert (1864–1944), Georgia Timken Fry (1864–1921), Eurilda Loomis France (1865–1931) and Herbert Haseltine (1877–1962).

[20] As an academician and professor at the École Nationale Supérieure des Beaux-Arts who frequently exhibited at the French Artists' Salon in Paris and being a member of the painting jury, Aimé Morot was an influential person in the modern art centre of Paris, being among the 18 most influential members of the Institute[21] and was included in Grün's painting "One Friday at the French Artists' Salon" in 1911.

[25] In 1910, Morot ordered the construction of a second house outside Paris, Maison dite Ker Arlette[26] in Dinard, a coastal village in North-east Brittany.

His nephew Jacques Morot also became a painter and exhibited three paintings (portrait of an Arab Chleuch au chapelet, Despedida (l'adieu) and Château du Metz) in the Salon in 1922.

[30] Morot had been attached to the General Staff of the French Army, which had given him ample opportunity to study cavalry men and horses.

[35] After producing a number of classical and figure paintings at the beginning of his career (e.g. Hériodiade (1880),[1] Le Bon Samaritain (1880),[1] Jésus de Nazareth (1883),[1] Temptation of St. Anthony,[1] Dryade (1884)[1]) he went on to become a society portraitist.

In 1889 he travelled to Morocco in the company of the French novelist and naval officer Pierre Loti, where he made several orientalist drawings.

This resulted in Au Tableau (1902),[15] representing the return from the hunt with a killed lion being carried up on a river bank by Africans,[1] which is in the Musée des Beaux-Arts in Nancy.

[45] His sculptures also include a number of Art Nouveau style women's heads carved in white marble similar to those sculpted by Alfred Lenoir [fr] (French, 1850–1920), Léon Binet (sculptor) [fr] (French, 1880–1952), Enzo Sighieri (Born 1868), Louis Jacques Gallet (Swiss, 1873–1955), Affortunato Gory (Italian, 1895–1925) and G. Verona.

For his oil paintings on canvas, Aimé Morot had a preference for a colour palette consisting of silver white, zinc white, yellow ochre, red ochre, cadmium yellow, cadmium red, raw sienna, burnt sienna, cobalt blue, emerald green, rose madder, carmine lake and ivory black.