Before the Impressionists learned that color relationships can be used to make subjects appear sunny and bright, painters invoked a concept called the "glare aesthetic" to do the same. Basically, this involved using large, bright planes next to small areas of deep darks. Contrast and lots of white paint did the trick. Color has nothing to do with it. You may have seen a similar effect when walking a beach on a very sunny day without your sunglasses.
Down by Oak Creek along the flat shelves of pink rock we see it, too. At noontime, the pink is nearly bleached out by the sun, and the only relief for our aching eyes are the little shadow areas under ledges or where vegetation gathers. The other day, I decided to capture the effect, and to see how rapidly I could do it. Broad strokes, quick color mixes and paying attention to, above all, value contrast, gave me the effect I wanted.
Who had the right approach? The Impressionists or the Glare Aesthetic School? Either can give you a powerful and dynamic painting.