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I think we are discussing different subjects in the same thread.
One subject is the observation of colour in real life, while the second is how we are able through our technique to intensifie or create a colour effect.
Painting a halo that is or is not there is a one of the many options we have that serve a purpose. For example, it is useful to unify the painting, it can help placing a subject IN a certain area by stressing its presence there, it can relate the subject to the background.
A red halo coming from a subject that is not red will alter the temperature of the subject's colour, perhaps turning it slightly toward coolness. I think instead that Sargent's reds are there to deepen the shadows through making them very hot.
Euan Uglow's painting (can't post them, I am referring to his nudes) are dotted with little red reference marks, and often red or orange outlines, that structure the drawing and add importance to the surface the painting, they also affect strongly the colour scheme.
I gave up cadmium red at the time of the famous thread, but found myself in the need of putting it back on the palette to have its power available!
Ilaria
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