在他21年,他去了杜塞尔多夫并开始了他的研究艺术学院,是由弗里德里希·威廉Schadow的儿子雕刻家约翰戈特弗里德Schadow。他是相关的杜塞尔多夫绘画学院。1841年,迈耶开设了自己的工作室,但搬到柏林作为他的名声增加(1853)。而来自《圣经》的场景第一次刷的科目,他后来把他的注意力从受欢迎的生活事件,特别是在黑森农民,最后可怜的家庭生活的描述方面。等照片“黑森牧师的禧”(1843),“圣诞夜,”“捉迷藏”,“士兵的回归,”“洪水”(1846),“忏悔的女儿”(1852年,在不莱梅的画廊),充满了强烈的同情穷人的“简单的史册。”后,他在柏林的住宅,他选择尤其是从儿童生活场景,呈现的幽默。在他的这类的照片:“小花女孩(1853)”、“童话”、“孩子玩捉迷藏,‘祖父和孙子’等等。他的第三组照片包括年轻女性,个位数或组织,如“幽会”和“情书。“他的工作的一个例子,”信”(1873),在大都会艺术博物馆在纽约市。

In his 2lst year, he went to Düsseldorf and began his studies at the Academy of Artthere, 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.