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Hmmm
I paint from life and have the same light on my subject as is on the painting. I then try to match every aspect of the subject to the painting. I see no reason to select or favor any aspect (tone, value, color) of what I observe. In my experience, when one's work has too much chroma or if your values are off they call you a colorist. If you are afraid of color and bashfully ignore those observable delicate chroma then they call you a value painter or a tonalist. (I have always thought Sargent was called a tonalist for no good reason since I've always thought his color was spot on.) Light unifies a sitter or subject. Its effect, accurately painted, thus unifies your artwork. Correct color is not garish color.
Crude brushwork does not make you an expressionist. My favorite new quote is, "Just because no one understands you, doesn't mean you're an artist."
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