Cady was born in Gardner, Massachusetts, to a town selectman, Edwin Cady, who ran a local general store. His father fostered a love of nature and encouraged his art skills. Cady entered an apprenticeship with a local painter, Parker Perkins. His first publication came as early as 1894: an illustration in a supplement to Harper's Young People (signed Walter H. Cady).

Harrison was 18 when his father was killed in Boston. He moved to New York City and within a year found work as an illustrator with the Brooklyn Eagle newspaper. His salary of $10 a week made it possible for him to support his mother; the two lived in a Greenwich Village cold-water flat. He stayed at the Brooklyn Eagle for four years, while also freelancing to other publications.

Cady's first published comic strip was Jolly Jumpers, which ran from 1912 to 1914 via the Publishers Press syndicate.

His income increased considerably after Life editor John Ames Mitchell signed Cady as staff artist and cartoonist. This led to a long career as a newspaper and magazine illustrator, as well as numerous children's books, featuring both fantastic and realistic animal illustrations.

Cady's Peter Rabbit comic strip, which was based on Thornton Burgess' Peter Cottontail stories (as opposed to Beatrix Potter's version) was launched by the New York Herald Tribune Syndicate on August 15, 1920. He continued to write and draw the strip for almost three decades. Cady had a long association with Burgess, illustrating the writer's books, including Happy Jack, and his daily newspaper column, Bedtime Stories. Their partnership spanned five decades, beginning with Baby Possum Has a Scare (c. 1912), The Adventures of Reddy Fox (1913), and Buster Bear Invites Old Mr. Toad to Dine (c. 1914). The series continued into the 1950s with At Paddy the Beaver's Pond (1950), followed by the reprint The Animal World of Thornton Burgess (1962).

After his escalating success through the 1920s, Cady and his wife Melinna decided to take an extended vacation. Touring Europe for two months in 1931, they visited London, Paris, Avignon, Brussels, Arles, Amsterdam, Rome, and Venice. In a letter to Harrison's mother, Melinna detailed their adventures:

"So far I like Paris as a place to live better than any other city.... The shops, the museums with the great works of art.... The Follies!!! and on and on. Venice is filled with charm & great beauty & romance yet back of it all, I could imagine in time one might feel the past tragedy of the place. Every afternoon at 4, Harrison & I started in a gondola and just wandered in & out & around until 8 o'clock. It, no doubt, sounds utterly foolish at my age to be so enthusiastic about everything, but, my dear, I am living in a state of thrills."

Cady was very prolific, illustrating over 70 years for such publications as St. Nicholas Magazine, Boys' Life,^[4] The Saturday Evening Post, Ladies' Home Journal, Good Housekeeping and Country Gentleman. He illustrated the Queen Silver-Bell series by Frances Hodgson Burnett.

In addition to his extensive illustrating of others' books, Cady also authored several books with his own illustrations, including his Butternut Hill series (1929), Johnny Funny-Bunny's Picnic Party (1928) and Spring Moving Day (1928).

When he retired in 1948, Vincent Fago took over the Peter Rabbit strip. Avon published Cady's Peter Rabbit Comics in 1947.

His work is on display at the Thornton W. Burgess Museum in Sandwich, Massachusetts.

Rodin conceived the figure as part of his work The Gates of Hell commissioned in 1880, but the first of the familiar monumental bronze castings was made in 1904, and is now exhibited at the Musée Rodin, in Paris.

There are 27 other known full-sized castings, in which the figure is approximately 185 cm (73 inches) high, though not all were made during Rodin's lifetime and under his supervision. There are various other versions, several in plaster, and studies and posthumous castings exist in a range of sizes.

The Thinker was initially named The Poet (French: Le Poète), and was part of a large commission begun in 1880 for a doorway surround called The Gates of Hell. Rodin based this on the early 14th century poem The Divine Comedy by Dante Alighieri, and most of the figures in the work represented the main characters in the poem with The Thinker at the center of the composition over the doorway and somewhat larger than most of the other figures. Some critics believe that it was originally intended to depict Dante at the gates of Hell, pondering his great poem.

Other critics reject that theory, pointing out that the figure is naked while Dante is fully clothed throughout his poem, and that the sculpture's physique does not correspond to Dante's effete figure.  The sculpture is nude, as Rodin wanted a heroic figure in the tradition of Michelangelo, to represent intellect as well as poetry. Other critics came to see the sculpture as a self-portrait.  This detail from the Gates of Hell was first named The Thinker by foundry workers, who noted its similarity to Michelangelo's statue of Lorenzo de' Medici, Duke of Urbino, called Il Pensieroso (The Think

The model for this sculpture, as for other works by Rodin, was the muscular French prizefighter and wrestler Jean Baud, who mostly appeared in the red-light district. Jean Baud was also featured on the 1911 Swiss 50 franc note by Hodler.

The original is in the Musée Rodin in Paris. The sculpture has a height of 72 cm, was made of bronze and had been finely patinated and polished. The work depicts a nude male figure of heroic size who is tense, muscular and internalized, contemplating the actions and fate of the people while sitting on a rock. He is seen leaning over, his right elbow placed on his left thigh, holding the weight of his chin on the back of his right hand. The pose is one of deep thought and contemplation, and the statue is often used as an image to represent philosophy. This and many other works by Rodin were groundbreaking for modernism and heralded a new age of three-dimensional artistic creation.

The work was enlarged in 1902 to a height of 181 cm. The monumental version became the artist's first work in public space. The figure was designed to be seen from below and is normally displayed on a fairly high plinth, although the heights vary considerably chosen by the various owners.

Life is an American magazine published weekly from 1883 to 1972, as an intermittent "special" until 1978, a monthly from 1978 until 2000, and an online supplement since 2008. During its golden age from 1936 to 1972, Life was a wide-ranging weekly general-interest magazine known for the quality of its photography, and was one of the nation's most popular magazines, regularly reaching one-quarter of the population.

Life was published independently for its first 53 years until 1936 as a general-interest and light entertainment magazine, heavy on illustrations, jokes, and social commentary. It featured some of the most important writers, editors, illustrators and cartoonists of its time: Charles Dana Gibson, Norman Rockwell and Jacob Hartman Jr. Gibson became the editor and owner of the magazine after John Ames Mitchell died in 1918. During its later years, the magazine offered brief capsule reviews (similar to those in The New Yorker) of plays and movies running in New York City, but with the innovative touch of a colored typographic bullet resembling a traffic light, appended to each review: green for a positive review, red for a negative one, and amber for mixed notices.