汪肇是一位约生活于明代弘治、正德、嘉靖年间，具体生卒年代不详。汪肇也是浙派名家。画人物、山水学戴进、吴伟, 亦工花鸟。善饮。《徽州府志》记载他"遇酒能象饮数 升",真可称得上是饮酒的绝技表演了。《无声诗史》和 《金陵琐事》都记叙了一则关于汪肇饮酒的故事:有一 次,他误附贼船,为了博取贼首的好感,他自称善画, 愿为每人画一扇。扇画好之后,众贼高兴,叫他一起饮 酒,汪肇用鼻吸饮,众贼见了纷纷称奇,各个手舞足蹈, 喝得过了量沉睡过去,汪肇才得以脱险。汪肇常自负地 炫耀自己:"作画不用朽,饮酒不用口。"
与江夏派创始人、“画状元”吴伟生活在同一时代（或稍晚）的汪肇，在画风和技法上学习、追摹吴伟及江夏派主将张路，并对浙派之首戴进亦有所取法，应是一种时代风尚使然，因为在当时浙派和江夏派是盛极一时的。我们看到的这幅汪肇创作的《起蛟图》轴，就是这盛极一时画风的产物。
《起蛟图》轴，绢本墨笔，纵167.5厘米，横100.9厘米，现藏于北京故宫博物院。此图以奇异不凡的构思，描绘出在风云变幻之中蛟龙起伏、龙腾风旋，草树飘摇、势惊雷电，骤雨将临的惊人场景。画面的右上方，在浓云迷雾之间，一条得水之蛟龙舒展着筋骨，横现于太空。左下方在旅途之上，石壁老树之下，用“枯柴描”写出匆匆赶路的主仆二人，一叟一童正急急顺风向左行进，虽只有草草几笔，便已把长者回顾天空中、墨云间腾飞的蛟龙，所流露出的惊慌神色，以及童稚惊恐俯身紧随长者前行的身姿，都描绘得神情毕肖、淋漓尽致。树石则用笔简率，豪放挺健，墨气古朴浑润、酣畅纵横，是取法自吴伟、张路的水墨技巧。汪肇在这里采用了对角线分割构图，生动地表现出了蛟龙腾跃、山风呼啸的豪壮气势，似有水腥及林野幽气挟风而来，整幅画面给人以心骇魄飞的紧张之感。古代传说中能发洪水的蛟龙，给人的威慑力，观者在读此画时亦会有充分的感受。汪肇绘画的表现力，也就在此。
可能是源于和江夏派同时崛起的吴门画派，备受推崇，成为画坛正宗，与董其昌一起统领了明代后期及整个有清一代，吴门画派对江夏派的排斥，便使得江夏派隐而不彰于画史和其后的画坛，汪肇这位追随江夏派的画人，也就画名不显，画作少传，仅留几十字于画史之中了。但就绘画的艺术性和艺术成就而言，汪肇应是我们不能忘却的。

传世作品有《起蛟图》轴、《芦雁图》轴、《柳禽白鹇图》轴等。
       《观瀑图》立轴，绢本，水墨，淡设色，纵110厘米，横81．5厘米。（美）普林斯顿大学美术馆藏。
       此图阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。
       《柳禽白鹇图》立轴，绢本，设色，纵190厘米，横103厘米。北京故宫博物院藏。
       图绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。
       《芦雁图》立轴，绢本，设色，纵185.4厘米，横101.8厘米。浙江省博物馆藏。
       此图画数雁栖息于矶石芦苇畔，一大雁俯首展翅，亦将落息于傍，动态生动。羽毛用笔干净利落，浓墨点出毛色，以淡墨烘染，衬出轮廓。芦苇、水草、矶石，均用笔草萆而显生机。整幅画气韵生动，具有浙派的艺术特色，而又自成一家。
       《起蛟图》以奇异不凡的构思，描写了在风云变幻之中蛟龙起伏的惊人情景。在浓云迷雾间，一条神通广大的蛟龙舒展筋骨，横现于太空。在旅途之上，石壁老树下，有主仆二人在匆匆赶路，顺风左行，长者仓皇回顾天空中一条腾起的蛟龙，流露出惊异而又镇定的神色。画家采用吴伟、张路的水墨技巧，运用泼墨法，生动地表现了蛟龙腾跃、山风呼啸的豪壮气势。

Wang Zhao is an about living in the Ming Dynasty Hongzhi, Masanori, Jiajing years, the specific birth and death is unknown. Wang Zhao is also famous Zhejiang school. Painting characters, landscape learning Dai Jin, Wu Wei, also workers and birds. Good drink. "Huizhou House Chi" recorded him "in the case of wine can drink a few liters," can really be called a stunt of drinking performances. "The history of silent poetry" and "Jinling trivia" have narrated a story about Wang Zhao drinking: Once, he mistakenly attached to the pirate ship, in order to win the goodwill of the thief, he called good painting, willing to draw one for each person. Fan painted good, all thieves happy, told him to drink, Wang Zhao drink with the nose, the thief met all have amazing, all dancing, drinking too much sleep in the past, Wang Zhao was able to escape. Wang Zhaochao conceited to show off their own: "painting without decadent, do not drink alcohol."
And the founder of the Jiangxia School, "painting champion" Wu Wei live in the same era (or later) Wang Zhao, style and techniques to learn, to copy Wu Wei and Jiangxia sent Zhang Lu, and Zhejiang Jin also has access to law, should be an era of fashion dictates, because at that time Zhejiang School and Jiangxia faction is very popular. We see this piece of Wang Zhao's "from Kau map" axis, is the product of this style of the moment.
"From Kau map" axis, silk ink pen, vertical 167.5 cm, horizontal 100.9 cm, now hidden in the Beijing Palace Museum. This map to singular extraordinary idea, depicting the ups and downs in the ever-changing dragon, Dragon Wind spin, tree hovering, potential lightning, showers will be the amazing scene. The top right of the screen, in the thick cloud between the fog, a water dragon stretch the bones, horizontal is in space. The lower left on the road above the cliffs under the old trees, with the "dry Chai description" to rush to write the master and servant of two people, a child is a child in a hurry to the left march, although only a few hastily, Elderly review the sky, the ink clouds off between the dragon, showing the panic look, as well as childish scared leaning forward in line with the posture of the elderly, are depicted in Bi Xiao look, most vividly. Shushi is a simple rate of pen, bold and healthy, ink simple ancient muddy, smooth vertical and horizontal, is taken from Wu Wei, Zhang Lu ink techniques. Wang Zhao here using a diagonal split composition, vividly demonstrated the dragon jumping, mountain breeze whistling heroic momentum, like watery and forest wild gas from the wind, the whole picture gives the heart to fly Of the tension. Ancient legend can send flood dragon, gives the deterrent effect, the viewer in reading this painting will also have full feeling. Wang Zhao's expressiveness of painting, also in this.
May be derived from the rise of the Jiangxia School and the Wu School of painting at the same time, highly respected, a painting of authentic, and Dong Qichang together to guide the late Ming Dynasty and the whole generation, the Wu School Jiangxia faction rejection, Wang Zhao, who was a painter who followed the Jiangxia school, did not have much painting or painting, and stayed in the painting history for only a few dozen words. But the artistic and artistic achievements of the painting, Wang Zhao should be we can not forget.