Steve, I said Paxton didn't use any Cadmiums on his palette (although they were readily available to him at the time). This information regarding the content of his palette comes from James Childs who was a student of Paxton's student, Ives Gammel.
Having examined the DeCamp painting of the Blue Mandarin Jacket up close and personal, on numerous occasions, I see no evidence of Cadmiums there either. From that you can infer anything you wish, however, I never said Paxton or DeCamp eschewed them, I said I thought Sharon eschewed them (based on her listing of which colors were on her palette). Obviously I misjudged Sharon by taking her literally. My bad! You obviously misread what I said.
I happen to agree philosophically with much of what Henche says but I'm just not a big fan of amped-up over-saturated color, which to my eye stays right on the surface. On
http://www.thehenschefoundation.org/OpenEyes.html/, Henche states, in his essay, that the "truths of Impressionism" have been "rendered obsolete and not worth striving for." This was obviously not the case with the Boston School artists who married the Impressionistic concept of a true color note to the Academic quest for accurate values and exquisite draughmanship, as evidenced in the images I posted above. This was practiced by artists such as Paxton long before Henche starting teaching.
In fact, many schools of painting championed the idea of what Henche called the "light key." For example, it was taught by Howard Pyle and can be seen in the work of Golden age illustrators such as J.C. Leyendecker, who happened to be a student of Bouguereau. They chose to utilize these effects in a more naturalistic and subtle way than Henche and Hawthorne.
My point is that there are multiple points of view on who or what defines a colorist. I was merely throwing in my two cents worth.
Regarding the drawing thing, obviously Henche could draw, if he wished to, based on the examples you've published, but then he flatly dismisses drawing as the foundation of painting and says, "This type of thinking has done more to cripple the development and usage of color in modern painting than any other fact." Ouch!
I believe the act of drawing, which I define as getting the right shape in the right place, can only help one to refine the color relationships.
That's all folks!