It’s an interesting topic alright, and 3D has some major differences to consider compared to 2D:
2D artwork considerations - painting, 2D animation etc:
The main thing to notice here is that the lighting is built into the chosen color palette, so no shift in hue around the color wheel is in evidence.
Sticking to a specific color palette here is the way to go for still work, although for 2D animation, each chosen palette may change on a per shot basis depending on its mood/atmosphere.
Using manipulated photos in these cases is for the most part OK, but still a good idea to edit out anything in them except for the color/diffuse elements, eg. specular color, ambient color, shadows, highlights - which will most likely be separate maps within whatever material editor is eventually used, to achieve the best overall ‘matching’ of different photos.
3D artwork considerations - lighting & 3D animation, coming in post etc:
Whatever your chosen local (diffuse) color palette may have been originally, added lighting (whether hdri or any colored lights) within an environment will cause color & tonal shifts/imbalances. Later in the comping phase, these may be re-addressed, but the original diffuse color balance will be forever changed (because of the change in lighting affecting the tonality & color-depth in the shadows).
Color theory may be necessary for any concept/texture artist, lighting TD or compositor to learn, modelers can benefit from learning something of this also (not least for the simple reason many will be UV mapping & texturing their own models as well.
Just throwing out a few main points to consider there…
Cheers 
