While a warm paper can kill pale blue highlights, a cool (high OBA content) paper can kill pale yellows, skin tone highlights, etc. Easiest all-around choice for accurate color repro is to work with a neutral white paper like Hahnemuhle photo rag. It has low OBA content to get the media white point to a nice neutral (under d50 lighting/profiling standard). However, no matter what paper you use, if you are going for accurate color you will want to be using a well calibrated monitor, a custom ICC profile for your printer/ink/media combination, and good softproofing capability in your image editing software. One must also pay careful attention to the print viewing environment. Some Professional print viewing booths don't offer enough dimming capability and nominally use about 2500 lux illumination that is ideal for critical color matching tasks, but IMHO, can be too bright for typical print display conditions. Solux Lamps are excellent, and offer one the opportunity to tune the lighting levels closer to museum gallery conditions which are typically much less than 200 lux and ideally about 3500K (Solux makes both 3500K and 5000K lamps).
Lastly, PS CS5 (and PSCS6) handles Absolute color rendering in a much more useful way (media whitepoint is now remapped to printer profile illuminant condition before absolute rendering occurs). So, we now have opportunity to use perceptual, relative (often useful when the painting's darkest tones are still within gamut of the print paper), relative with BPC, and in some situations absolute rendering to give us the best starting point for making final color edits before output to the chosen paper.
As others will surely agree, good painting reproduction takes a lot of time and skill. All of today's digital imaging technologies and color science helps a lot, but at the end of the day, the print maker still needs to exercise a lot of discerning judgement because each painting can serve up new challenges that must be addressed on a case-by-case basis.