Question: Rebrandnt's practice of singinig his work with his first name was inspired by what artists?
About the article "Rembrandt", section "Name and signature".

Candidate passages:
In 1962 Beuys befriended his Düsseldorf colleague Nam June Paik, a member of the Fluxus movement.
This was the beginning of what was to be a brief formal involvement with Fluxus, a loose international group of artists who championed a radical erosion of the boundaries of art, bringing aspects of creative practice outside of the institution and into the everyday.
Although Beuys participated in a number of Fluxus events, it soon became clear that he viewed the implications of art's economic and institutional framework differently.
Indeed, whereas Fluxus was directly inspired by the radical Dada activities emerging during the First World War, Beuys in 1964 broadcast (from Second German Television Studio) a rather different message: ‘Das Schweigen von Marcel Duchamp wird überbewertet’ (‘The Silence of Marcel Duchamp is Overrated’).
Beuys's relationship with the legacy of Duchamp and the Readymade is a central (if often unacknowledged) aspect of the controversy surrounding his practice. 
Carl Beam was the first artist of Native ancestry to have his work purchased by the National Gallery of Canada as contemporary art (1986), thus opening the door for a generation of Native artists to enter.
"Despite Beam's reluctance to be defined as a "Native Artist", his art deals with the struggles of his people."
Beam brought an innovative approach to all the media he worked in.
"Technically Beam is regarded as an innovator for his intentional blurring of diverse art practises, thereby enabling certain methodologies and techniques to acquire new contexts.
His innovative techniques, in fact, have been emulated by a new generation of artists-Native and not."
"He evolved his own unique techniques as needed in photo-etching and photo based painting, to name a few, and his passionate discourse on all things political and practical inspired many people."
A major retrospective of his work, mounted by the National Gallery of Canada, is on exhibition, having started October 22, 2010, thus recognizing Beam as one of Canada's most important artists.
The exhibition is curated by Greg A. Hill, Audain Curator and Head of the Department of Indigenous Art, and is accompanied by a catalogue with essays by Ann Beam, Greg Hill, Gerald McMaster, Virginia Eichhorn, and Alan Corbiere with Crystal Migwans, including paintings, photo-based collage works, constructions, ceramics and videos. 
Sakti Burman (born 1935 in Kolkata) is a contemporary Indian artist of Indian parentage living in France.
(His name has also been spelled Shakti, Shakthi, and Sakthi.)
He grew up in what is now Bangladesh (but was part of pre-Independence India).
He has lived in France for the last five decades, while maintaining strong ties with India, where he regularly exhibits his works.
He is married to French painter Maite Delteil.
His includes several eminent artists: His daughter, Maya Burman also lives and works in France; his niece, Jayasri Burman was inspired by him and is a notable artist in her own right; as is his niece's husband, Paresh Maity.
He has had several exhibitions of his work in India, and elsewhere, and won several prizes.
A painter and lithographer, Burman's art has mythic and fantasy content and rich colors. 
Blek le Rat (Xavier Prou) commented, when asked by the Wooster Collective what artists he admired, "From the old school I really like Richard Hambleton.
This American artist from NYC was the first street artist to export his work all over the world.
It was really incredible to do that in the beginning of the 80s!
This guy put his shadows in every city in Europe and so you could find them in Paris, London, Roma, Berlin, etc..."Victor Matthews, an artist born in Brooklyn in 1963, and a graduate of the New York’s High School of Art and Design, cites artists such as Keith Haring and Richard Hambleton for his inspiration, artists who, he says, "made the city streets and subways their own.
"Banksy’s work may be the most famous street art in the world, but the man who inspired him to first take out his stencils and spray paints in the dead of night was Richard Hambleton. 
Kahnweiler is considered one of the major dealers and spokesmen for Cubism.
He was among the first people to recognize the importance and beauty of Picasso's "Les Demoiselles D'Avignon", immediately wanting to buy it and all of Picasso's works.
Picasso wrote of Kahnweiler "What would have become of us if Kahnweiler hadn't had a business sense?"
– compelling because at the time of the origination of his most famous works Picasso was largely unknown as an artist and destitute.
Kahnweiler supported in his gallery all of his great artists of the time; who had no audience, or collectors, - initial purchases included works by Kees van Dongen, André Derain, Fernand Léger, Georges Braque, Juan Gris, Maurice de Vlaminck and several others of the same generation.
Kahnweiler wanted as he said to "defend" artists he believed in, but only those who had no dealers and whom he believed were great artists.
Rather than exhibiting the popular works of the past and present greats, Kahnweiler championed burgeoning artists such as André Derain, Alberto Giacometti, and others, who had come from all over the globe to live and work in Montparnasse and Montmartre at the time.
Thus Paul Cézanne although a great artist was considered too old to be represented, and his work was being handled by Ambroise Vollard at the time.
Along with such men as Alfred Flechtheim, Paul Cassirer, Daniel Wildenstein, Léonce Rosenberg and Paul Rosenberg, Kahnweiler was one of the influential connoisseurs of the 20th century.
As a businessman Kahnweiler innovated many new ways of working with artists; and art dealing; - now established practice with art dealers.
In 1907 when there were only half a dozen good galleries in Paris, he made contracts with artists to buy all of their work (freeing them from the worry and restraint about cost of living and creating work).
He saw them daily to discuss their work, (they were friends, he co-owned little sailing boats with his artists), he photographed each work, (he felt it imperative to have a record), he held exhibitions of their work and he promoted their work internationally.
Kahnweiler gave the first exhibition of the work of Georges Braque.
He encouraged the practice of "Beau Livres" (beautiful book), where a contemporary artist illustrates a work of a contemporary writer - he expanded his presentations by bringing together artists, writers and poets to produce their works as a joint project in more than 40 books, so Picasso illustrated the works of Max Jacob etc.
In fact as an art and literary publisher he had no equal; being the first to publish works by Max Jacob, Guillaume Apollinaire, André Masson, Gertrude Stein, Pablo Picasso, and many others and in so doing launched many literary careers.
So strong a business ability did Kahnweiler have that by the 1950s his art gallery was in the top 100 companies in France in terms of turnover from export.