various traditional palettes

*
The Limited Classical Flesh Palette:
Flake White
Yellow Ochre
Vermilion (can substitute Cad Red Light)
Ivory Black
Burnt or Raw Umber (for monochromatic underpainting/drawing. The dark umber areas will remain uncovered, to act as transparent and deep shadow areas)
This is basically a red (verm.), yellow (ochre), blue (ivory black) configuration. The basic flesh mixture is the white and yellow ochre, with a touch of the red, and a smidgen of black to lower chroma, if desired.

Extended Classical Flesh Palette
Flake White
Naples Yellow
Indian Yellow (glazing)
Vermilion or Cad. Red Light
Red Ochre or Light Red
Rose Madder (A transparent color. Don't buy the any colors with Lake in the name, as they are not permanent)
Burnt Sienna
Terre Verte or Green Earth
Umber
Ivory Black
Classical palettes, idealy, are used in a layered technique, but alla prima is also possible and almost equal in the right hands (Rubens, Hals)

Complete Classical Palette - as listed at http://www.ncartmuseum.org/monet/revolution1.html
Flake White
Naples Yellow
Indian Yellow
Yellow Ochre
Red Ochre
Vermilion
Rose Madder
Carmine
Burnt Sienna
Brown Madder
Bitumen
Cassel Earth
Ivory Black
Ultramarine Blue
Prussian Blue

Modern Limited Palette (Higher chroma than classical, geared towards opaque, direct painting methods. A very, very basic landscape palette also.)
Flake or Titanium White
Cad. Yellow Light
Yellow Ochre
Cad. Red Light
Alizarin Crimson (trans., like a darker Rose Madder)
Cobalt Blue (or Cerulean if you prefer)
Ultramarine Blue (trans.)
Ivory Black
Here you have a high chroma, RYB scheme, with warm and cool variations of each color. Permanent

Extended Modern Palette
Flake or Titanium White
Cad. Yellow Light
Cad. Orange
Yellow Ochre
Raw Sienna
Cad. Red light
Cad. Red Medium
Red Ochre or LIght Red or Indian Red
Alizarin Crimson
French Ultramarine
Cobalt or Cerulean
Viridian
Sap Green
Burnt Sienna
Umber
Ivory Black

The landscape palette
(taken from http://www.artrenewal.org/articles/2...parkhurst2.asp
'Landscape calls for pitch and vibration. You must have pure color and great luminosity, yet a range of color which will permit of all sorts of effects. The following will serve for everything out-of-doors, and I have seen it with practically no change in the hands of very powerful and exquisite painters. There are no browns and blacks in it because the colors which they would give are to be made by mixing the purer pigments, so as to give more life and vibration to the color. The Blackest note may be gotten with ultramarine and rose madder with a little viridian if too purple; the result will be blacker than black, and have daylight in it. The ochre is needed more particularly to warm the veridian'.
White
Stronitian Yellow
Orange Vermilion
Cadmium Yellow
Pink Madder
Orange Cadmium
Rose Madder
Yellow Ochre
Cobalt
Ultramarine
Viridian
Emerald Green (aka Veronese Green)