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The following biography is from the archives of askArt.
Called Meyer von Bremen after his place of birth, this artist was also nicknamed "Kinder-Meyer" due to his preference for children as subjects. A genre painter with an enormous following, especially in the United States, Meyer gave evidence in his early years of his artistic ability. In 1833 he entered the Academy at Dusseldorf where he studied under Professors Karl Sohn and Wilhelm Schadow. Schadow, a "Nazarene" artist is now remembered for his teaching rather than for his own painting.
Initially, Meyer painted religious and historical subjects but in 1840, after travel in Bavaria and Switzerland, he began to develop the pleasant, humorous scenes of childhood for which he became known. His pictures appealed to the common sentiments of the people and, as he painted for this emotional response, he was knot unknown to direct the gaze of his most touching subject at the viewer.
Most of his working life Meyer spent in Berlin, becoming a Professor at the Academy in 1863. He was also a member of the Amsterdam Academy and the Order of Leopold, and received medals at exhibitions in Berlin and Philadelphia.
Biography excerpted from the unpublished catalog by Edward P. Bentley for the Haussner Restaurant in Baltimore, Maryland, titled: Haussner's, The Children.
The following biography is from Wikipedia.
Johann Georg Meyer von Bremen (28 October 1813 Bremen, Germany – 4 December 1886 Berlin), commonly known as Meyer von Bremen, was a German painter who specialized in Biblical, peasant, and family scenes.
‘Schlafendes Geschwisterpaar’ (Sleeping sisters; 1851)
In his 2lst year, he went to Düsseldorf and began his studies at the Academy of Art there, which was led by Friedrich Wilhelm Schadow, the son of sculptor Johann Gottfried Schadow. He is associated with the Düsseldorf school of painting. In 1841, Meyer opened a studio of his own, but moved to Berlin as his fame increased (1853). While scenes from the Bible were first the subjects of his brush, he later turned his attention to incidents from popular life, especially among the Hessian peasantry, and finally to the portrayal of family life in its pathetic aspect. Such pictures as ‘The Jubilee of a Hessian Pastor’ (1843), ‘Christmas Eve,’ ‘Blindman's Buff,’ ‘The Soldier's Return,’ ‘The Inundation’ (1846), ‘The Repentant Daughter’ (1852, in the gallery at Bremen), are full of intense sympathy with the “simple annals of the poor.” After taking up his residence at Berlin, he chose especially scenes from child life, which he rendered with spirited humor. Among his pictures of this kind are: 'The Little Flower Girl(1853)', ‘The Fairy Tale,’ ‘Children Playing Blindman's Buff,’ ‘Grandfather and Grandchild,’ and others. A third group of his pictures includes those of young women, as single figures or in groups, such as ‘The Tryst’ and ‘The Love Letter.’ An example of his work, ‘The Letter’ (1873), is in the Metropolitan Museum of Art in New York City.