Married at the age of seventeen, Macdonald-Wright moved to Paris with his wife to immerse himself in European art and to study at the Sorbonne, the Académie Julian, the École des Beaux-Arts and the Académie Colarossi. He and fellow student Morgan Russell studied with Canadian painter Percyval Tudor-Hart between 1911 and 1913. They were deeply influenced by their teacher's color theory, which connected the qualities of color to those of music, as well as by the works of Delacroix, the Impressionists, Cézanne, and Matisse that placed a great emphasis on juxtapositions and reverberations of color. During these years MacDonald-Wright and Russell developed Synchromism (meaning "with color"), seeking to free their art form from a literal description of the world and believing that painting was a practice akin to music that should be divorced from representational associations. MacDonald-Wright collaborated with Russell in painting abstract "synchromies" and staged Synchromist exhibitions in Munich in June 1913, in Paris in October 1913, and in New York in March 1914. These established Synchromism as an influence in modern art well into the 1920s, though followers of other abstract artists (principally, the Orphists Robert and Sonia Delaunay) were later to claim that the Synchromists had merely borrowed the principles of color abstraction from Orphism, a point vehemently disputed by Macdonald-Wright and Russell. While in Europe, Macdonald-Wright met Matisse, Rodin, and Gertrude and Leo Stein, and Thomas Hart Benton, who called Stanton "the most gifted all-around fellow I ever knew". He and Russell returned to the United States hopeful of acclaim and financial success and were eager to promote their cause.