Question: At what time did "Rembrandt" become the artist's name?
About the article "Rembrandt", section "Name and signature".

Candidate passages:
Rembrandt Peale was born the third of six surviving children (eleven had died) to his mother, Rachel Brewer, and father, Charles Willson Peale in Bucks County, Pennsylvania, on February 22, 1778.
The father, Charles, also a notable artist, named him after the noted 17th-century Dutch painter and engraver Rembrandt Harmenszoon van Rijn.
His father also taught all of his children to paint scenery and portraiture, and tutored Rembrandt in the arts and sciences.
Rembrandt began drawing at the age of eight.
A year after his mother’s death and the remarriage of his father, Peale left the school of the arts, and completed his first self-portrait at the age of 13.
The canvas displays the young artist's early mastery.
The clothes, however, give the notion that Peale exaggerated what a 13 year old would look like, and Peale's hair curls like the hair of a Renaissance angel.
Later in his life, Peale "often showed this painting to young beginners, to encourage them to go from 'bad' to better..."In July 1787, Charles Willson Peale introduced his son Rembrandt to George Washington, and the young aspirant artist watched his father paint the future president.
In 1795, at the age of 17, Rembrandt painted an aging Washington, making him appear far more aged than in reality.
The portrait was well received, and Rembrandt had made his debut.
At the age of 20, Rembrandt married 22-year-old Eleanor May Short (1776–1836) at St. Joseph's Catholic Church in Philadelphia.
During their marriage, Rembrandt and Eleanor had nine children: Rosalba, Eleanor, Sarah Miriam, Michael Angelo, and Emma Clara among them.
In 1822, Peale moved to New York City where he embarked on an attempt to paint what he hoped would become the "standard likeness" of Washington.
He studied portraits by other artists including John Trumbull, Gilbert Stuart and his own father, as well as his own 1795 picture which had never truly satisfied him.
His resulting work "Patriae Pater", completed in 1824, depicts Washington through an oval window, and is considered by many to be second only to Gilbert Stuart's iconic Athenaeum painting of the first president.
Peale subsequently attempted to capitalize on the success of what quickly became known as his "Porthole" picture.
"Patriae Pater" (Latin for "Father of Our Country") was purchased by Congress in 1832 for $2,000.
It currently hangs in the Old Senate Chamber.
In 1826 he helped found the National Academy of Design in New York City.
Peale went on to create over 70 detailed replicas, including one of Washington in full military uniform that currently hangs in the Oval Office.
Peale continued to paint other noted portraits, such as those of the third president Thomas Jefferson while he was in office (1805), and later on a portrait of Chief Justice John Marshall. 
The Three Crosses is an etching and dry point painting created by Dutch artist Rembrandt van Rijn depicting the crucifixion of Jesus Christ.
The subject is Jesus Christ on the cross, flanked by the two thieves who were crucified with him.
The Virgin Mary is depicted weaping and being supported by the Evangelist.
Roman soldiers on horseback and grieving citizens are depicted around the crosses.
Professionals have speculated that the scene might be interpreted as the moment of Christ’s death.
The sky is very dark but pierced by a beam of light that surrounds the figure of Christ, representing God’s light from heaven.
The iconography in the piece is especially intricate.
According to Paul Crenshaw of the Kemper Art Museum, Rembrandt was inspired by the text from when Christ cried out, “My God, why hast thou forsaken me?” Rembrandt drew heavily on biblical sources in his work, as well as being influenced by other Baroque contemporaries.
Rembrandt created over 300 works that were inspired by the Bible.
The piece's etching does not allow for dramatic contrasts of light and shade, known as chiaroscuro.
Rembrandt produced the work in four stages, increasing in each the effects of these contrasts.
Etching and dry point are labor-intensive processes, and one of the early forms of printmaking.
Rembrandt chose these media based primarily on the fact that he was suffering from financial difficulties all the time.
He had to sell many of his etchings in order to be able to afford to print "The Three Crosses".
Rembrandt was able to make around sixty impressions from the plate in its first three stages, the darkest shadows on the piece being done in dry point, and Christ and the lighter figures being etched.
The nature of the media meant that it was possible for Rembrandt to make continuous alterations (which he did over a ten year period), adding further etching and dry point, changing the composition of the picture and making the final image darker and more chaotic: In the last stage, the Virgin Mary has become an almost disembodied head surrounded by darkness, and the figures that originally encircled her have, in consequence, been removed, as have been some of the soldiers on horseback.
A man in a large hat (also on horseback) has been added and is believed to be a figure from Rembrandt’s "The Conspiracy of Claudius Civilis."
The most dramatic alteration is to the "heavenly light" which has become considerably darkened, especially to the right of the picture, by which Rembrandt may be making a clear distinction between the 'good' and 'bad' thieves.
Each progressive change in the work increases the focal importance of the Christ figure.
In its fourth and fifth state, Rembrandt inked the plates in a different number of ways and with different qualities of ink.
One of the prints in the fourth stage is located at the Kemper Art Museum. 
The Head of Christ is a 1648 painting by the Dutch artist Rembrandt, based on a Jewish model and thus marking a turning-point in the artist's work.
It is now in the Gemäldegalerie in Berlin. 
The first western scholar to discuss the painting was Wilhelm von Bode who in his "History of Dutch Painting" (1883) stated that it was a Rembrandt dating from his "late" period, that is, 1654.
Somewhat later, Abraham Bredius examined the picture quite closely and had no doubts that its author was Rembrandt.
At the beginning of the twentieth century, Alfred von Wurzbach suggested that Rembrandt's student, Aart de Gelder might have been the author, but his opinion was generally disregarded.
Throughout most of the twentieth century, there was general agreement that the painting was indeed by Rembrandt and even Julius S. Held, who at one time questioned its Polish connection, never doubted Rembrandt's authorship.
However, in 1984, Josua Bruyn, then a member of the Rembrandt Research Project (RRP) tentatively suggested that certain characteristics of the work of Willem Drost, another student of Rembrandt, could be observed in the painting.
Though the mysterious and somewhat solemn expression on the Rider's brilliantly painted face point to Rembrandt,"The Polish Rider" is unlike Rembrandt's other work in certain other ways.
In particular, Rembrandt rarely worked on equestrian paintings, the only other known equestrian portrait in Rembrandt's work being the "Portrait of Frederick Rihel", 1663 (National Gallery, London).
But Bruyn's remained a minority opinion, the suggestion of Drost's authorship is now generally rejected, and the Frick itself never changed its own attribution, the label still reading "Rembrandt" and not "attributed to" or "school of".
More recent opinion has shifted even more decisively in favor of the Frick, with Simon Schama in his 1999 book "Rembrandt's Eyes", and a Rembrandt Project scholar, Ernst van de Wetering (Melbourne Symposium, 1997) both arguing for attribution to the master.
Those few scholars who still question Rembrandt's authorship feel that the execution is uneven, and favour different attributions for different parts of the work.
A 1998 study published by the RRP concluded that another artist's hand, besides that of Rembrandt, was involved in the work.
Rembrandt may have started the painting in the 1650s, but perhaps he left it unfinished and it may have been completed by someone else. 
The origin of the name came from accident German where the word Helith means "Heroes".
It was chosen because the group beliefs that nobody cares for those who are poor or those who did not had the same chances like studied hackers.
It was also chosen to point out that the members just do what they are ready to do even if it conflicts with laws or civil restrictions like beliefs or ethics.
The origin of the name may be traced to the fact that "Helith" was founded in Germany and thus accident German was chosen for the group name.
Some of the founding members of Helith shared a belief and talked during a Chaos Communication Congress Congress in 1998-1999 in Germany at an improved round table conference about what needs to get done to reach this goal.
At the conference Rembrandt was chosen to be the public link for Helith and thus making him the poster child and victim for federal forces.
It is not known who is member of "Helith" nor how many members do exist or what they do in detail because very few information get public and Rembrandt itself is a very problematic character like Theo de Raadt.