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Michele,
Regarding your Thames on Fire pic, yes I think you are on to something. The (very) basic approach I spoke of would (I think) come very close to his results. He probably introduced a bright pigment like chromium or cadmium yellow and I notice a navy/french ultramarine mixed into the greys. There are some nice cerulean blues in there as well. I suspect some nice transparent madders too but one would have to see the actual painting in life I think.
I think it's true that much of the appeal of the painting has to do with the play between restraint and full, albeit choicey, higher chroma passages. It's all speculation unless someone out there has more concrete information.
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