Dos Santos on Bouguereau

[...] This is Bouguereau's palette as best experts can tell from x-rays, chemical analysis, and notes.
Of course, some colors changed over the course of his career, but this is a good approximation of those he used most frequently.

Bouguereau's Palette:
• Naples Yellow (lead antimoniate)
• Yellow-Ochre
• Chrome Yellow, dark
• Viridian
• Cobalt Blue
• White Lead
• Light Vermilion
• Chinese Vermilion
• Mars Brown (iron oxide); this available from Lefranc & Bourgeois
• Van Dyck Brown
• Burnt Sienna
• Ivory Black
• Bitumen
• Genuine Rose Madder, dark

As for your chalkiness issue...
try thinking of white as a cool color.
Thus, you need to use it sparingly in the highlight.
try to favor more yellow, or at the very least surround the white with warm colors so it takes on their appearance.
The highlights in the face you mentioned are very similar to a color I use called Nickel Titanium Yellow Light by Rembrandt.
Try it.
I use it as a substitute for white in the warm areas so as to keep them warm.
Then if I need it, I bump it up to white.

* [Elwell: That Rembrandt color Dan mentioned is just zinc white with a touch of bismuth yellow (PW4, PY184). It's convenient, but you could mix your own with any white and high chroma yellow, like a cad or hansa lt. When people talk about using higher chroma pigments in the lights, that's exactly what they mean. The thing to remember is that it just takes a smidge to tint the white.]