张路早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。
      张路擅画人物，最早也成名于人物。其画笔势遒劲，用笔迅疾粗放，协感较强。此图原为大型册页，高居翰认为画中题材可能是“俞伯牙为钟子期弹琴”的故事，表现文人的雅逸生活。画中二人，一个弹琴，一人听琴，弹奏者专心致志的神态和欣赏者妙不可言的表情，颇为生动。人物面部刻画较细，衣纹线条粗细转折较为显露，反映了浙派晚期笔墨特征。

 《苏轼回翰林院图》是张路人物画的代表作。苏轼由于和王安石的矛盾，被朝廷贬谪，但不久又受重用，被皇上任命于翰林院。一夜忽被皇后召见，向他解释原委，并重申对他的信任，尔后皇后派人送苏轼回翰林院，并让侍从摘下自己座椅上方悬挂的一对金莲灯为他照明。此图表现的正是这一情节。人物用线细利率直，带速写之意。画风趋于豪放纵宕一类。  
       《吹箫女仙图》绢本墨笔 纵141.3厘米 宽91.8厘米北京故宫博物院藏
       《吹萧仙女图》描绘一女仙盘膝席地坐在松荫底下，旁边竹编花蓝放有一双大寿桃。微风吹拂，女仙面对汹涌波涛，正在悠闲自在地吹箫。作者可能表现的是麻姑女仙的题材，女仙那优美动听的箫声，似在招引凤凰。图中人物的画法用粗细不同的笔墨分别表现。面部以中锋细笔勾勒，线条工细流畅。衣纹用笔则奔放豪爽，线条方折顿挫，富于、疾迟、浓淡的变化。从张路洒脱快捷的运笔中可见，他在承袭唐代吴道子，宋代梁楷等人疏体狂放的写意传统的基础上，追仿同时代人吴伟的画风，笔墨愈加狂放不羁，张路挥洒娴熟的笔墨中缺少吴伟清雅秀逸的书卷气。图右款落“平山”，钤有“张路”印。 
       《山雨欲来图轴》绢本设色  纵147cm  横105cm  故宫博物院藏
       《山雨欲来》的画题，源自晚唐著名诗人许浑的名句“溪云初起日沉阁，山雨欲来风满楼”。画题是后人根据画面内容添加的，用于此图可谓恰如其分。图中绘高山深壑，泉石溪流，云雾迷蒙，树枝摇曳，一幅大雨将至、风云突变的情景。全幅以大笔泼洒，水分浓郁，用笔粗放不羁，水墨酣畅淋漓。山峰以大笔横点融成，外围轮廓呈现不规则的犬牙般曲线，大胆的用笔恰当地描绘了特定环境中风雨交加的自然景色。又以淡墨轻画远山，隐隐约约，给人以山外有山的感觉。山脚下，画家不着一笔，留出大片空白，缭绕的云雾拉开空间距离。作者采用毛笔乱点的手法画树叶，将风雨中飘摇的枝叶表现得生动而富有神韵。全图除人物外，几乎省略了线条，以大块墨色的渲染见长。  
       《溪山泛艇图》绢本设色纵165.8厘米  横97.5厘米上海博物馆藏
       《溪山泛艇图》写远山隐约起伏，近岩苍松虬屈盘空，水鸟低掠于明净溪面，景色清旷雄奇，其间有一士人泛舟于溪山之间，笔墨坚实浑厚，但有清空之意韵。作者是继戴进、吴伟之后的浙派著名画家，进步发挥了前者笔墨遒劲纵肆的特长。

Zhang Road (1464-1538), word Tianchi, No. Pingshan, only the word line in the world, Xiang Fu (now Henan Kaifeng) people. Famous painters of the Ming Dynasty, good at landscape, character, line pen Jin Jun frustrated, can carry tripod. Young wise, see Wu Daozi, Dai Jin painted characters, copy Xiao Qishen, to fame, is the Ming Dynasty to follow Dai Jin, Wu Wei's important Zhejiang school painter, Wu Wei in character Shangwu, but the show is not enough, wild , The scenery on the wear into the wind. Zhang Lu 's painting art is well received by the world praise, the Ming Dynasty Zhan Jingfeng praised him "enough to be famous. At that time, the gentry who salty plus weight, get their authentic, should the arches. Paintings handed down from the "mountain rain to map", "landscape figures", "Xishan ferry chart", "Xiao female immortal map", "Eagle grab rabbit map" and so on.
       Zhang Lu early painting painting Dai Jin, copy to Xiao Qishen, painting fine. To Nanjing, and Patriarch Wu Wei, into a crude pen freehand. He is a good painting figures, more painted fairy, scholar, fisherman, image of simple, demeanor Qinglang, with high upward temperament. The scenery is simple, pen and ink Qiu Jin, bold style, but less show Yi and Yunzhi caused by; for Zhejiang faction, but also open scholars later rough wind. He has a typical style of ink more than freehand brushwork, characters more Dayton off the heavy ink lines outlined, rocks to rough pen touch for ax hacking, the pen quickly, ink dripping, with bold unrest momentum. Can also draw freehand flowers and birds.
      Zhang Lu good at painting figures, the earliest fame in the characters. The brush strokes Qiu Jin, swift and extensive pen, cohesion strong. This map was originally a large album, the highest Han that the theme of the painting may be "Yu Boya for the bell period of playing the piano," the story of the performance of literati Yat life. Painting two, a piano, a person listening to the piano, the player to concentrate on the demeanor and admirers wonderful expression, rather vivid. Characterization of facial features is thinner. The turning of the thickness of the lines is more revealing, which reflects the characteristics of late Zhejiang ink.