In Rome Aubin was strongly influenced by Caravaggio, as can be seen in his early works such as David Holding Goliath's Head,[3] making him one of the Caravaggisti, a group which also included Guido Reni, Nicolas Régnier and Domenico Fetti.

Around 1630 he painted two huge canvases for the nave of the chapelle des Pénitents noirs in Toulouse, The Brazen Serpent[4] and The Discovery of the True Cross,[5] though they were both completed by his student Jean Senelle (Meaux, 1605-1671), who had formerly also been a student of Georges Lallemant.

In 1634, Aubin Vouet worked on the chapel in the Château-Vieux (Old Castle) at Saint-Germain-en-Laye.

At around the same time he was also active in his brother Simon's Parisian school (notably alongside François Tortebat, Michel Dorigny, Michel Corneille l'Ancien, Nicolas Chaperon, Charles Poërson) and helped complete some of Simon's paintings.

Aubin's later style and compositions were similar to Simon's, painting draped figures in bright colours to break up a scene, often as a curve within a triangle and with figures raised above each other, such as the observer in The Centurion Cornelius Kneeling Before Saint Peter, painted as a May for Notre-Dame de Paris and now in the chapelle Saint-Pierre.