Deciphering what the male name Gelman means. The origin of the surname Gelman The main character traits of those named by the male name Gelman

The conversation is led by E. Kutlovskaya

Elena Kutlovskaya. Preparing for a meeting with you, I asked one of my friends: how should I contact Gelman - Marat Alexandrovich or just Marat? The answer was very funny: "What middle name can Marat Gelman have? It's almost a pseudonym!" That is, your name has become almost a household name - a designation not only specific person but also a cultural phenomenon. Did you consciously strive for this? Have you taken any steps to promote your own name?

Marat Gelman. I'll start with the fact that the ill-wishers were the first to work for the promotion of my name. In the early 90s I made an exhibition Ukrainian artists. Before me, no one brought them to Moscow, they were unknown to anyone. But the exhibition was a huge success. This caused a natural irritation in people who are not interested in the emergence of something new. They formalized their attitude to what they saw as follows: "Well, the artists, no doubt, are rubbish, but Gelman is very clever ... How wonderfully he managed to submit them and promote them!" Time passed, and life showed that the artists were good, and that is why the demonstration of their work in Moscow had a wide resonance. But in the very content of the creativity of Ukrainians there was something new and, due to its novelty, unacceptable for a part of the Moscow public, which gave rise to the desire to level the aesthetic object. Thanks to this situation, I gained fame as a talented producer. By the way, this fame was very ambiguous, because in those days a good producer was perceived almost as a clever businessman. Then I still did not understand how to relate to my reputation ... Second. I spent a lot of energy to create the first art fair in Russia. And I became its director. The fair opened on the same day as the Gelman Gallery. The coincidence was not accidental, because the whole fair was conceived as a promotion of the gallery. The project turned out to be so successful that after two months of operation the gallery was called "the oldest". And, finally, the third. First art Gallery was named after a living person, the name of the creator and director. It was sheer arrogance. At that time, art institutions were given generalized names, for example, "Art-Moscow" or " Russian art". The producers counted on the fact that any passer-by, seeing the sign "Art Moscow", would think that everything is concentrated here Moscow art. But civilized art world arranged differently. It is about personalities. I understood this well from my experience of communicating with some art institutions in Moscow and in Russia as well. You come to the gallery, agree on something, and a month later there is already a different director and there is no one to even explain to anyone that there is some kind of contract, etc. The lack of personal responsibility was overwhelming. Which prompted me to give the gallery my name. I ventured to say that I and my organization are one and the same, so there is always someone to ask here. For many, such a step was new, and it was regarded as rudeness, as unjustified insolence. However, my "rudeness" worked to increase the popularity of the gallery, to promote it. All. There are no other secrets of promotion, in my opinion. E. Kutlovskaya. You have long been no longer perceived only as a gallery owner. The scope of your activity covers a wide socio-cultural territory. I came across people who know that there is such a Marat Gelman, but have no idea what he does. That is, your fame today exists on its own, outside of a specific case.

M. Gelman. Well, thank God.

E. Kutlovskaya. Have you aspired to personal popularity?

M. Gelman. At some point. There are people who have one great fate. And there are those who have many small destinies. I'm probably one of the latter. My life is clearly divided into periods. They are all different, and in each separate period I set myself new tasks. Until 1994, I tried to ensure that my name and activities were perceived as a spike - "gallery owner Gelman." This is, as in the already well-known spikes - "the poet Pushkin", "apple fruit", etc. But starting from 1995, I began to be weary of such an identity and tried to somehow destroy it. You see, a gallery is a certain genre, and any genre always has its limits. And they bothered me personally. For example, it is not customary for a gallery owner to write articles because he is promoting a certain art. If this art is appreciated by someone else, it's good, because a third-party assessment means the success of the gallery. But if you promote yourself, sell yourself and write yourself - it’s bad, because this does not mean success at all, but on the contrary ... I did a lot of things that fell out of the scope, and they told me: status does not have the right to do so." Let's say arranged museum exhibitions, that is, the gallery was active outside the gallery, which is not accepted. Museums tend to work with museums or independent curators, and galleries usually work with galleries. I didn’t manage to stay within the boundaries of the generally accepted, and I actively broke them. Probably, my temperament demanded more than the work in the gallery gave. I would especially like to emphasize that the image of the gallery is formed by the artists and it was they who formed my image.

E. Kutlovskaya. How do you feel about the fact that your cultural actions have not been perceived for a long time outside the name of Gelman? For example, the fight against Tsereteli's "dominance" in Moscow was perceived by many primarily as a protesting gesture by Marat Gelman.

M. Gelman. I will answer simply. Not everything I do is associated with my name. When I decide that the phrase "Marat Gelman" will interfere with the case, I take it out of the brackets. So, my activity as a consultant in politics is not public. Now, regarding the situation with Tsereteli. The fact that the fight against his prolific anti-aesthetic activities was carried out on my behalf is very important. After all, Tsereteli was criticized from different positions, and the principled position of his opponents was of great importance. There were people who said that you shouldn't spend so much money on art. They can be understood, but I think that a lot of money needs to be spent on art. Another thing is that Tsereteli's works are not art. I think that my person in some way served as confirmation of this. People came to me and asked: "Aren't you going to do something against such a grandiose anti-art?" That is, I was perceived as a person capable of resisting the cultural policy of Luzhkov-Tsereteli. Which is what I tried to do.

E. Kutlovskaya. As you know, your attempt ended in nothing ...

M. Gelman. Yes, it was a defeat. When we started our opposition speeches, I hoped that I would be able to raise a discussion in society about what art is and what is not. Since people were really touched by Tsereteli's "creativity", then, by appealing to him, one could try to explain what real art does and why it should not be divorced from the world. artistic culture. The defeat was that we were not heard. And they have not been heard so far, so our defeat lasts... Contemporary art in Russia is considered exotic. Our public believes that true art is only works of art of the past. Any contemporary creativity who tries to speak in modern language and about contemporary issues, is rejected as non-art. At the same time, the majority is convinced that we have a special "Russian way" that obliges us not to talk about today, but to talk about yesterday. And this is a disaster for the development of the artistic process in Russia. Remember Stalin's attitude towards Lysenko, and you will understand the perniciousness of the situation. The "great scientist" Lysenko had an idiotic theory, which was accepted as true by all political authorities. It would seem, so what? Ten years later, everything was forgotten and returned to normal. However, a whole generation of real scientists was "knocked out", having no opportunity to work because of Lysenko's idiocy. Both science and the country suffered colossal damage. To exclude this in art life, a civilized policy towards artists is needed. Because those of them who can make up the glory of Russia and should, it would seem, have every possible support, turn out to be socially marginalized. They are excluded from the social process, as, indeed, everything modern Russian art. We are on the sidelines public life. Another question is that an artist can always go to the West and realize himself there. Therefore, this situation is not as dramatic for him as it was for the personal fates of scientists of Stalin's time. But for fate Russian culture the marginal position of contemporary art is detrimental.

E. Kutlovskaya. If you agree with your point of view, then you, as a representative of contemporary art, as its symbol, should be marginalized. But it's not. You are actively involved in all processes of public life, you are at the center of both the cultural and political development of Russia.

M. Gelman. The fact is that personal success is always the sum of some components. In addition to the Gelman Gallery, there are a dozen other good organizations, but they are little known. There are twenty or thirty artists that we can rightly be proud of, but almost no one knows them. Probably, the success of the Guelman Gallery is to some extent the result of betrayal, and not the result of service. So, that's how it works. I leave too often art space for some other social projects.

E. Kutlovskaya. For what? What gives you this change of territory?

M. Gelman. For what? Hard to tell. I keep trying to drag modern Art into the Russian society... To drag him along with you.

E. Kutlovskaya. You belong to the cultural and political elite countries, but your intentions are often incomprehensible to the mass consumer, just as the contemporary art that you represent is incomprehensible to him. How can you drag into society what is not in demand?

M. Gelman. Yes, there is the concept of elite, but it does not mean at all that the best should be the most understandable. It is no coincidence that such a word as "pop" was born. Between the elite art products and the mass consumer is not the shortest path, but it will inevitably be overcome. Time passes, and what is so far perceived only by the professional environment will be perceived by the educated stratum, and then by the mass consciousness. There is not a single serious cultural phenomenon that has not been gradually adapted for mass understanding. Look at the love of today's America for pop art and remember how the same Americans perceived it in the 60s. In order for the artist to be able, despite his incomprehensibility, to function normally, a whole complex of relationships is being built all over the world. I'm not talking about creating everything new and unusual special conditions and provide such phenomena in huge circulations. The thing is different: the paths to the art of the future must be free so that the artist can follow them naturally. Unfortunately, in Russia the situation is different, here the place of the future is constantly occupied by the past, which greatly deforms the normal art process. You know, yesterday I watched "Fight Club" and suddenly realized that in the West both music, painting and cinema are a single whole. They develop synchronously, exchanging their skills and formal discoveries with each other. And we have a modern art and literature live in one world, cinema in another, and music in a third. Maybe those festivals of contemporary art that we arrange in Lately, will be useful as they combine music, theater, painting. Maybe our festivals will implicitly "force" different genres, different types cultures borrow something new from each other.

E. Kutlovskaya. Some of your cultural actions were involved in the political promotion of S. Kiriyenko. Tell me who is using whom: are you the image of Kiriyenko, or is he exploiting you and your image?

M. Gelman. Politics works for our festival projects. If we talk about "Unofficial Moscow", then to some extent Kiriyenko was a good PR agent for the festival. In turn, "Unofficial Moscow" gave the image of Kiriyenko interesting features, made it deeper. It is necessary to take into account the fact that in Russia everything always comes down to politics, so we all use each other. The problem is whether it hurts you and your business to use another. Sergei and I want art and politics, science and the press to interact on some equal footing.

E. Kutlovskaya. What do you mean by equality?

M. Gelman. Will explain. There is a politician and there is, relatively speaking, the curator of the festival. What does equality mean between them? This means that the politician does not interfere with the cultural ideology of the festival. That is, when everyone knows the measure of his competence and acts in accordance with it.

E. Kutlovskaya. Do you hope that politics will not interfere in your life, despite the fact that you have an almost intimate relationship with her?

M. Gelman. As long as it doesn't interfere... Let's think, what is the cultural elite? This is a complex cultural machine, a unique mechanism, thanks to which only twenty or thirty people are selected out of millions of people who want to become artists, writers, and musicians. But their names are the pride of the country. The cultural apparatus weeds out a huge number of people. Someone is eliminated at the level of education, someone - in the process professional activity. But at the same time, the cultural machine gives samples of real art to millions, orients the majority towards them. So little by little cultural community forms the national art fund. Now imagine that a politician, instead of interacting with the cultural machine, begins to interact directly with artists, choosing two or three for himself, for example, Tsereteli, Shilov and Glazunov. There is no longer any need for criticism, no need for journals, no need for institutions. There is no longer a need for a unique cultural mechanism. For what? All over the world, elites interact with each other, and this interaction is based on the recognition and definition of the boundaries of competence. In our country, favoritism flourishes, as in the Middle Ages, when it was given to politics to determine what was being built and erected around it. In my opinion, in Russia there is generally a medieval idea of ​​spirituality. Here a person is processed by the environment in such a way that his craving for culture acquires a very perverse expression. Let's say, in our country, a person comes to an antique shop and buys an old spoon there, but not for food, but as an object of culture. Because the old in Russia has a high status, and the new has a low status. Write any nonsense in Izhitsa - there is already a feeling of spirituality, but state the most interesting idea modern language- spit. We are all confused. Therefore, in my talks and lectures, I always try to explain that spirituality is a search, not conservation. But in Russia, on the contrary, the canon is spirituality. We have an obvious problem. I see two possibilities to overcome it. The first is an appeal to the younger generation, for whom there is no longer a "holy" past, they are free from the past and, thanks to the Internet, are well informed about the current processes of world culture. And the second is an appeal to a broad international context, to the global artistic community.

E. Kutlovskaya. You said that in the mid-90s, the spike "gallery owner Gelman" began to weigh you down. Do you like the identification with Kiriyenko?

M. Gelman. Kiriyenko is the politician with whom it turned out to be at least acceptable to identify with. As for the scale ratio, here, I think, everything is fine. As for the correlation of personalities, everything is somewhat more complicated: there are people around me who do not accept Kiriyenko, and around him there are those who are absolutely sure that he is propping up a person who exhibits some kind of horror in the gallery. I think we both can either lose or win from mutual cooperation. So far, I think the results are positive. Although there are losses. For example, my favorite artist Kostya Zvezdochetov refused to participate in one of my exhibitions for a long time, because he had different political views. You see, doing something, you always put people in front of a choice, when they have to decide in relation to you.

E. Kutlovskaya. But from a free artist you turn into a person engaged by a certain political structure. Are you not afraid that your face will be slightly rubbed with it?

M. Gelman. There is a problem. And in a way, I'm really engaged.

E. Kutlovskaya. Why "in some"? I think in a certain...

M. Gelman. If it was an engagement in art, it would be the end.

E. Kutlovskaya. But you, so to speak, hold the flag of contemporary art, you are a representative of a very specific culture. Culture does not function without public outcry, without public awareness. Today, in this awareness, one way or another, Marat Gelman is crossing with the ideology of the Union of Right Forces. Doesn't that mean engagement?

M. Gelman. If Marat Gelman, in connection with this, stopped making sharp projects, then his face would be completely wiped out. Therefore, the only way to prove that you have not lost anything is to work. Of course, I took a risk, taking a very responsible step, and if Kiriyenko after a while does not justify the hopes placed on him...

E. Kutlovskaya. How is he supposed to justify them? Become President?

M. Gelman. It's not about the presidency. The politician is always in a state of readiness for compromise. And the artist is in the opposite situation, for him a compromise is fatal. In this connection, there is a real danger of repeating what has already happened. Remember how we all vehemently supported Yeltsin? And then what happened?

E. Kutlovskaya. Why, then, would you risk joining with politicians?

M. Gelman. I just told you about my loss in the story with Tsereteli. This defeat happened because we were not ready to play a serious political game. And on the part of Tsereteli, the game was played quite strongly. Unfortunately, in Russia all issues are intertwined, and if you join the fight without the necessary political and economic resources, you will inevitably lose. Now Kiriyenko and I are creating a group that will shape the project cultural policy for the SPS, and the SPS will oversee and finance it. It just so happens that in order to change the art situation in the country, you need to work with politicians. There is no hope that the system that is in power today will be able to conduct a civilized cultural policy capable of bringing art out of a marginal situation. Therefore, I am looking for such a force, such a structure, which will become the engine of a true cultural policy in Russia. I don't think I made a mistake by betting on Kiriyenko, because choice, including art, is the norm.

E. Kutlovskaya. That is, if the project of joint work with Kiriyenko turns out to be unsuccessful, will you be more than upset?

M. Gelman. Yes. But I want to record: Kiriyenko is politics, not power. I will never integrate into an existing system, this is obvious to me. I don't belong there. But to promote the appointment of certain people to various positions, I want and can use my influence.

E. Kutlovskaya. In the absence of a coherent socio-political and cultural system, life in Russia is organized around bright personalities. It is they who determine the tastes, worldview, ethical boundaries of the behavior of young and not so young people. Some part of our society also focuses on you. You model not only cultural processes, but by your behavior you determine the value orientations in the lives of many.

M. Gelman. If I see something new and interesting, then I somehow want to interact with it. What is quite obvious is that I am a slave to everything new, I even sometimes bow to it too much. Because for a person who deals with contemporary art, there is nothing worse than being outdated. Only this is bad. Everything else - nothing ... The same, that in the perception of many Marat Gelman became the personification of contemporary art, I owe again to opponents. The newspaper "Tomorrow" has long begun to call everyone contemporary artists"gelmanoids". I really appreciate it, despite the insane responsibility entrusted to me by ill-wishers. But really, no matter what I do, I'm constantly trying to create a certain cultural atmosphere. Communicating with business people, I try to educate them somehow. Of course, a manifestation of love from the side younger generation warms the soul. Once I was in Alma-Ata, giving lectures, and suddenly a student came up to me and said that I came to them, well, just like Mick Jagger. Or at a conference in Nizhny Novgorod I accidentally heard several people discussing me and saying: "We met Marat Gelman himself ..." For me, this is very valuable and pleasant. You know, in youth you always want to win authority over the older generation, but now you want to be an authoritative person for young people to a much greater extent.

E. Kutlovskaya. Have you noticed that neither one nor the other is ever fully successful?

M. Gelman. Well, everything always works out to some extent. Or fails in some way. I am currently preparing one project, which, in my opinion, will be interesting and in demand. This is an exhibition called "Dynamic Pairs", dedicated to the technology of collaboration, how joint works are created. How, for example, do Komar and Melamid work? One paints from left to right and the other from right to left? Or one invents and the other performs? How does the process of creativity occur in those who work in pairs? I personally consider this project relevant, because it tells about significant changes in the art of the twentieth century. After all, the very way of creating works has changed, which, by the way, almost no one noticed. Previously, a lone artist himself did not understand what he had done. He couldn’t really talk about his intentions, and don’t even ask about what the created means. Illuminated, inspiration descended - and that's it. And today, although the artist does not seem to teach anyone anything, does not call for goodness or beauty (modern art is devoid of messianism), the meaning of creativity is cognizable for the creator, who quite consciously sets himself specific professional tasks. Art has become more articulate, easier to explain. This means that conditions have been created for the flourishing of collective creativity: if I can explain my idea, then we can work with someone together. My exhibition will tell about the changes in this area of ​​the artist's activity.

E. Kutlovskaya. In your opinion, are the changes that have taken place a big plus for modern culture?

M. Gelman. I relate to reality without signs. As a given. But I can say the following. Previously, we had, relatively speaking, an "attic", and the cultural machine, taking something out of the brackets of relevance, "stored" it there. And there was also an "office" where work was going on, some valuables were being produced. Then they were filtered by contemporaries, and those that were considered the best were transferred to the "library", and those that were considered the worst were thrown into the "attic". By the way, a whole myth was built on this: contemporaries do not appreciate me, but the future will extract my work from the "attic" and understand my true meaning. And so it was. Each new generation first of all climbed up and found a lot of interesting things in the dust, indignant at the ancestors who threw away such a cool thing. In the age of urbanization, the "attic" has disappeared from our homes, and it turned out that what is not perceived today will irrevocably sink into oblivion. Therefore, a great responsibility has been entrusted to us - not to turn away from an interesting new one, not to miss it, since next generation will perceive the world through our eyes. It is devoid of "attic". It's sad, but it's true. No pluses or minuses. Feeling my responsibility for the contemporary before the future, I am obliged to fix the new in art, not allowing it to disappear. Everyone must speak up. In this connection, for the exhibition, I am also making a book, where the artists themselves talk about the technology of co-creation, about their art cuisine.

E. Kutlovskaya. Let's get back to the question of the technology of your art image, the construction of your image in the space of culture. Does this process have an end goal?

M. Gelman. Difficult question... Art is the only form of activity in which the question "why?" does not exist for me. That's when I do something else, this question always arises before me. But as soon as I return to work in art, it disappears. For me, art is valuable in itself, it initially contains some inner goal, which I follow. As for my personal aspirations, they also do not have any final goal. I lived for some time, accumulated some experience, every two or three years my main goals change. Perhaps in thirty years it will become clear where and why I was going. But for now I live in the mode of situational tasks, which are updated from time to time. And this means that all my beliefs are in some sense delusions. That is, for a short period, all goals are tactical and no more. But something else is important: I have a certain vision of the world, so I am constantly instilling it into other people. And this process cannot have any ending like "well, finally implemented in everyone!". By the way, the artist works according to the same logic: he has an idea about the art of the future and he is trying to convince the whole world that it is true.

I hope that for me the pursuit of art will be today's, tomorrow's and the day after tomorrow's personal goal. Although, you know, the history of any success is not endless, and there comes a time when you need to realize that in a creative sense you are no longer effective. And from now on, you must look for the young to help them realize themselves, using all your influence for this newly set goal. And I would like it to be strong enough for this period of life.

Here given full interpretation the name of the man Gelman, which is best suited, and what to fear for people wearing it. You hear the sounds of your name every day, from the very early childhood they work in one way or another. Understanding what will attract good luck to you, knowing all aspects of your character, you will achieve a lot.

The meaning of the male name Gelman

• Writing in Latin - Gelman
• This name is suitable for the element - Earth
• Suitable colors - Pale pink, Navy blue, ultramarine
• Attracting life luck to a given name, metal - Chrome
• Attracting good luck to a guy who bears this name, a tree - Laurus
• Suitable planet - Pluto
• Constellation bringing happiness - Sagittarius (Sagittarius)
• According to numerology named after Gelman, numbers bringing good luck men - zero
• You better eat food - meat
• Animal totems for the name Gelman– pheasant
• Stones - totems for people with the name Gelman - Carnelian

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What is suitable in life for people named after the letter G - Gelman

1. It is better if a man named Gelman was born under the sign of the zodiac - Scorpio (24.10 - 21.11)
2. It will be most successful if a man named Gelman was born on Chinese horoscope per year - Tiger - years 1902, 1914, 1926, 1938, 1950, 1962, 1974, 1986, 1998, 2010, 2022, 2034
3. Things are better to start on - Sunday
4. Most auspicious days years, these are January 16, March 19, August 16 and September 9
5. Favorable time of day for you - late evening
6. A dangerous age at which you need to be more careful - in childhood and adolescence - seven years; in youth - thirty-five years; in maturity - fifty-five years, in old age - seventy-four years
7. The name with the letter G - Gelman leaves an imprint on the health of these people, diseases of the lungs are especially dangerous
8. People named Gelman are best suited for professions related to – Helping people

The main character traits named by the male name Gelman

This person approaches the choice of the second half thoroughly, thoughtfully and sometimes it takes a lot of time. He can wait a very long time when his chosen one has feelings for him, it cannot be said that his love is weak, just not everyone manages to rekindle it. It is impossible not to trust him, they are honest, sincere and ingenuous. If he looks at her only as a mistress, then he will say so. Everyone who encountered them remembers such people, because it is simply impossible to forget them. No matter how stormy their personal life is, they are born builders of family nests, men named Gelman, would like to grow old in an atmosphere of calm and comfort, without any quarrels, stresses and upheavals. Until their very old age, they are either afraid, or simply do not want to tie the knot. Be his woman and you won't find a better man. Obstacles only increase their perseverance. A woman who tries to keep him through threats and blackmail can get into serious trouble.
Despite the seemingly healthy appearance, if a man named Gelman falls ill, he recovers very slowly and for a long time. He charms one girl after another, leaving them in an effort to find the one who will satisfy his exacting taste. A cheerful disposition accompanies him even in the most difficult moments. Fearing to make the wrong decision, they rely on logic and rationalism. Their lives are almost certainly full of changes, unexpected events, contradictions, but a man named Gelman can have moments of complete calm. They often do charity work. They can live perfectly in the status of a bachelor, until the end of their lives. This person has simply incredible will, independence, but is passionate and easily excitable.

Table of the main character traits of a person named Gelman

The calculation of character traits was carried out on the basis of the name and month of birth, for a more accurate calculation you need to know full date birth and first name, middle name and last name, if you need it then - VISIT THIS PAGE.

The vertical column of the table (top), select your (or a person with a name with the letter G - Gelman) month of birth, the horizontal (side) line is the aspects of character. Their intersection will show a coefficient from 1 to 100, the larger the value, the better.

	January	February	March
Strength of will	96	3	52
Energy	37	26	18
Learnability	65	6	69
industriousness	34	42	50
Kindness	70	1	2
Patience	—	96	44
Creation	86	7	42
Intuition	33	56	67
Sociability	91	62	67
Self-esteem	16	4	45
Money	98	80	5
Talent	63	82	71
Spirituality	8	3	10
purposefulness	66	47	19
Stability	—	51	29
Love	63	99	99
Duty	66	76	61
mentality	31	94	74
prudence	4	30	13
Emotionality	—	80	35

	April	May	June
Strength of will	9	35	62
Energy	93	11	92
Learnability	70	44	89
industriousness	95	11	66
Kindness	66	31	79
Patience	86	57	63
Creation	13	30	54
Intuition	79	54	27
Sociability	88	79	86
Self-esteem	37	27	87
Money	65	63	33
Talent	24	74	61
Spirituality	14	78	3
purposefulness	88	83	32
Stability	14	57	54
Love	19	—	31
Duty	73	92	—
mentality	85	89	7
prudence	41	28	7
Emotionality	99	54	28

	July	August	September
—	22	27
Energy	22	61	85
Learnability	4	8	36
industriousness	15	14	10
Kindness	74	62	28
Patience	—	5	—
Creation	25	41	94
Intuition	75	39	38
Sociability	6	42	10
Self-esteem	—	39	32
Money	86	82	60
Talent	55	53	17
Spirituality	95	95	80
purposefulness	5	82	27
Stability	25	37	94
Love	33	84	32
Duty	81	45	28
mentality	7	6	12
prudence	54	70	39
Emotionality	32	14	45

	October	November	December
Strength of will	5	78	49
Energy	54	—	17
Learnability	48	80	89
industriousness	24	31	1
Kindness	77	14	24
Patience	61	53	97
Creation	13	54	20
Intuition	42	1	22
Sociability	98	11	5
Self-esteem	76	19	62
Money	75	23	88
Talent	20	64	45
Spirituality	62	16	64
purposefulness	72	88	11
Stability	12	83	83
Love	64	91	55
Duty	62	65	97
mentality	91	19	51
prudence	44	39	85
Emotionality	76	77	75

The main character traits that are present in people with the name Gelman are sincere, petty, addicted

Compatibility of men with the name Gelman in a relationship

This table shows the love compatibility of people with the name Gelman, based on their birthday. The vertical column (top) is your zodiac sign, the horizontal (side) line is your partner's horoscope sign. Their intersection will show the extent and aspects of the relationship in perspective.

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	Fish	Aries	Taurus
Pisces (19.02 - 20.03)	bad feelings	long life	money will tear you apart
Aries (03/21 - 04/20)	joyful experiences	part as enemies	good together
Taurus (April 21 - May 20)	rich house and joy	disappointment	be together for a long time
Gemini (21.05 - 20.06)	good	vain dreams	calm house
Cancer (21.06 - 22.07)	empty experiences	rich house and joy	Everything will be fine
Leo (23.07 - 22.08)	contempt	no boring life together	good together
Virgo (23.08 - 23.09)	parting	family happiness	passion and jealousy
Libra (24.09 - 23.10)	vain dreams	love and happiness	long life together
Scorpio (24.10 - 21.11)	well-being and prosperity	rich house and joy	happiness but not for long
Sagittarius (22.11 - 21.12)	bad	financial difficulties	complicated relationship
Capricorn (December 22 - January 19)	good family	happiness but not for long	nervousness for you
Aquarius (22.01 - 18.02)	acute relationship	calm house	money will tear you apart

	Twins	Cancer	a lion
Pisces (19.02 - 20.03)	contempt	acute relationship	bad
Aries (03/21 - 04/20)	hatred and strife	excellent	joyful experiences
Taurus (April 21 - May 20)	bad feelings	bad	passion and jealousy
Gemini (21.05 - 20.06)	don't start a relationship	well-being and prosperity	bad
Cancer (21.06 - 22.07)	shared dreams	adoration and love	love and happiness
Leo (23.07 - 22.08)	well-being and prosperity	disappointment	contempt
Virgo (23.08 - 23.09)	excellent	short love	part as enemies
Libra (24.09 - 23.10)	good	long relationship	disappointment
Scorpio (24.10 - 21.11)	Not recommended	vain experiences	nervousness for you
Sagittarius (22.11 - 21.12)	a hassle for both	money will tear you apart	financial difficulties
Capricorn (December 22 - January 19)	well-being and prosperity	nervousness for you	good family
Aquarius (22.01 - 18.02)	short love	passion and jealousy	well-being and prosperity

	Virgo	Scales	Scorpion
Pisces (19.02 - 20.03)	adoration and love	passion and jealousy	bad feelings
Aries (03/21 - 04/20)	complicated relationship	don't start a relationship	long life together
Taurus (April 21 - May 20)	rich house and joy	long life	hatred and strife
Gemini (21.05 - 20.06)	don't start a relationship	it will be better	disappointment
Cancer (21.06 - 22.07)	nervousness for you	long life	a hassle for both
Leo (23.07 - 22.08)	good family	bad feelings	often misunderstandings
Virgo (23.08 - 23.09)	vain experiences	passion and jealousy	acute relationship
Libra (24.09 - 23.10)	love and happiness	it will be better	don't start a relationship
Scorpio (24.10 - 21.11)	adoration and love	love and happiness	excellent
Sagittarius (22.11 - 21.12)	long life together	Not recommended	difficulties
Capricorn (December 22 - January 19)	peace in the house	sadness and routine	nervousness for you
Aquarius (22.01 - 18.02)	financial difficulties	don't start a relationship	part as enemies

	Sagittarius	Capricorn	Aquarius
Pisces (19.02 - 20.03)	disappointment	good	financial difficulties
Aries (03/21 - 04/20)	parting	complicated relationship	short love
Taurus (April 21 - May 20)	love and happiness	peace in the house	shared dreams
Gemini (21.05 - 20.06)	empty experiences	no boring life together	don't start a relationship
Cancer (21.06 - 22.07)	long life	troubles and troubles	contempt
Leo (23.07 - 22.08)	bad	adoration and love	long life
Virgo (23.08 - 23.09)	hatred and strife	nervousness for you	bad feelings
Libra (24.09 - 23.10)	complicated relationship	happiness but not for long	nervousness for you
Scorpio (24.10 - 21.11)	parting	excellent	it will be better
Sagittarius (22.11 - 21.12)	disappointment	disappointment	good
Capricorn (December 22 - January 19)	peace in the house	bad	long life
Aquarius (22.01 - 18.02)	be together for a long time	emotionality	no boring life together

What does the name Gelman mean? For a long time, people have been interested in the meaning of this name. What happens if you name a child by the name Gelman? After all, each of us at birth is given a name that accompanies us all our lives. Yes, and after death, it is customary to indicate data about a person on a memorial. And what is constantly with us cannot but be reflected in the character and behavior. So let's get back to the secret of the name Gelman.
Scientists, philosophers, astrologers - they all fought for centuries, trying to decipher the male and female names. In our time, many books have been published with the meanings and secrets of the name Botagoz, and the list is constantly updated, since over the years new proper names appear, and the old ones go away, are forgotten. By the way, in ancient times, babies were given names that were even scary to pronounce. This was done on purpose to ward off evil spirits. Later in Rus', children were called by two names, one was pronounced only in church and hidden from everyone. It was believed that Botagoz is the name of a guardian angel who will protect a person all his life. Today there is a special fashion for names. Many mothers and fathers carefully choose the name of the future baby, referring to the Old Slavonic lists. Someone first studies the meaning of the name, and only then chooses the appropriate one. And there are fewer and fewer who come up with names themselves. Here everything is already limited by the flight of your imagination. But then to determine the nature of the owner unique name there will be phonetics - sound combinations and syllables. IN meaning of the name Gelman there are many ancient roots and sources that are irretrievably lost today ...

Reveal the secret of the name GELMAN(in Latin transliteration GELMAN) looking at the results of the calculation in the numerological magic of numbers. You will discover hidden talents and unknown desires. Perhaps you do not understand them, but you feel that you do not know something about yourself and your loved ones.

The first letter G of the name GELMAN will tell about the character

Your life consists of quickly transient joys and pleasures, so hurry up to live! You are paradoxical in love: on the one hand, you require reliability from a partner, on the other hand, you do not want to tie the knot. You are the initiator of unusual fantasies in love. Remember, your weapon is a smile that can dispel a partner's gloomy mood.

Characteristic features of the name GELMAN

• power
• comfort
• attention to detail
• conscientiousness
• mystery
• talkativeness
• resilience
• insight
• passion
• emotionality
• vigor of self-expression
• artistry
• great resourcefulness
• logics
• pettiness
• diligence
• shyness
• pedantry
• industriousness
• interest in health
• sharp mind
• creative ambitions
• shelving
• ability to classify

GELMAN: the number of interaction with the world "2"

People whose number of interaction with the world is a deuce rarely worry about trifles. They are confident that any conflict can be resolved, and good relations with an opponent, even an unsympathetic and aggressive one, is the key to success in a common cause. In a company where a “loser” appears, any business becomes common - such is the property of this person; at the same time, which is important, he does not impose his will on anyone, does not enter into quarrels, and even raises his voice only occasionally. The “loser” has few friends, but they all, as a rule, have sincere affection for each other; in addition, a person of the deuce probably has more than a dozen friends and acquaintances who turn to him in case of the slightest difficulties, but never allow themselves too much and do not “sit down on their necks”.

"Losers" are able to work in any team and, most often, have a beneficial effect on it, rallying colleagues and facilitating the establishment of informal relationships. True, management still has to keep an eye on labor process, otherwise at one fine moment it may turn out that a person of two alone does all the work, and the rest only give him advice - and not always, admittedly, sensible.

"Losers" are kind people and not indifferent to other people's problems, because of which, at times, they suffer, becoming a victim of cunning manipulators or quite ordinary scammers. At the same time, they are well versed in people, they always analyze the situation, take into account a lot of factors, but they completely forget about logic as soon as they see a person who needs help.

The goodwill of the "losers" is never intrusive, their sense of tact and diplomacy are worthy of imitation. It is unlikely that someone will be able to reproach a person of two for getting into his own business, giving unsolicited advice and providing disservice. The “loser” almost never reminds of the assistance provided, but usually still expects gratitude for it. Such people do not know how to ask, but they cause a lot of anxiety to their loved ones: they often need moral support, but they cannot always explain what exactly they expect from others.

The mood of the “losers” is not stable: they strive for harmony in everything, but they understand that universal happiness is a rare and short-lived phenomenon, therefore they rarely part with a sense of inner anxiety and expectation of trouble.

Gelman: the number of spiritual aspirations "7"

Often their main occupation is mentoring, to which they devote maximum time. Such people are endowed with an extraordinary sense of tact, which allows them to transfer their knowledge and experience, while not imposing their own position and view of things on others as the only correct one.

In life, the “sevens” rely solely on themselves, willingly offer help to others, but almost never accept it from the outside, which is why they often suffer. At the same time, problems for them are not a reason for despair. Thanks to internal energy, they are able to cope with any problem on their own, without flaunting their own weaknesses. Often, unfamiliar people consider the "sevens" closed, gloomy, and even snobby, while for close people they are always open, sincere and sociable.

People - "sevens" often do not like excessive attention to their person. They never openly boast of their own achievements, but they do not hide their success either. Disharmony in their lives is often brought about by a desire for change: although such people strive to find sources of new impressions, they are at the same time very afraid to take a decisive step, finding themselves faced with the need to make a choice. "Sevens" can doubt and hesitate for a long time, trying to predict the likely "dangers". As a result, after long reflections, they often remain in their usual comfort zone.

Despite the fact that the "sevens" are quite sociable, they prefer to spend time with like-minded people - there are almost no random people in their environment. Developed intuition and insight allows them to "on the move" form an opinion about a person and attract to "their circle" precisely those who are similar to the "seven" himself: proud, intelligent, purposeful people with self-esteem.

People - "sevens" never lose self-respect, despite what successes they have achieved in life. Often their material condition and career very solid, but even if everything is not as chic as we would like, the “seven” will never sink to the bottom because of this. Nevertheless, such people do not consist entirely of virtues: under certain life circumstances, they turn into real arrogant egoists, neglecting the interests and problems of even the closest people.

The choice of a life partner of the "seven" is very scrupulous and meticulous, often re-educating him all life together. Disputes in their family are common and frequent, while the decisive word is the prerogative of the "seven".

GELMAN: number of true features "4"

People born under the influence of the four are smart, reasonable, practical, do not like to indulge in empty dreams and stand firmly on their feet. Their life is not idleness and not a battle, but daily work, sometimes hard, but always very exciting. To achieve any goal, they have to put in a lot of effort.

These people are more likely than others to turn off the chosen path and be content with little, but they quickly learn from their own mistakes and do not dwell on failures. They rarely accept the help of others, preferring to achieve everything alone, which often serves as a serious obstacle to well-being.

A strong love attachment can be a serious problem for a person of four, especially if the chosen one turns out to be unworthy or just too windy. Having experienced an unhappy love, the foursome forever loses its former cheerfulness and self-confidence.

Endowed with an outstanding intellect, this person does not shy away from physical work, achieving success in mastering crafts and sports. Stability is extremely important for him: he always draws up a daily routine, plans a vacation in advance, trying to take into account all the nuances and taking into account the interests of loved ones. This person readily helps friends, however, sometimes he cannot resist lectures.

People under the influence of the four blindly trust their loved ones, which is why they sometimes become victims of their intrigues. Many cunning businessmen frankly use the abilities of the fours, being well aware of their diligence and diligence.

However, unfortunately, people of the four receive the most harm from themselves, for example, when they are chasing big money, not allowing themselves to rest until they completely fall from fatigue. It is important for them to learn how to properly distribute their own forces and notice more joyful moments in life.

The study of the history of the emergence of the name Gelman opens up forgotten pages of the life and culture of our ancestors and can tell a lot of interesting things about the distant past.

The surname Gelman belongs to the type of family names of German origin common in Russia.

In Russia, where representatives of various nationalities lived side by side for centuries, the composition of generic names has always been quite diverse. Foreigners entered the Russian service, remained forever in Russia, and often only the surname reminded their Russified descendants of the origin of the founder of the family. Starting from the reign of Peter I, and further, in XVIII-XIX centuries, many artisans, merchants, doctors, scientists, representatives of technical professions immigrated to Russia from many European countries, but mainly from Germany and Holland.

The concept of a surname as an inherited family name arose in Western Europe in the 10th century among the nobility, and over time spread to all social strata. In this case, the basis of the generic name could be geographical name, an indication of the occupation, name or nickname of the founder of the surname. Many German surnames originated from old Germanic names, many of which consisted of two bases, for example, Giselbert, Gerhard, Hoffman and the like.

The surname, which became known in Russian transcription as Gelman (until the middle of the 20th century, it was customary in Russian to transmit the German sound [h] as [g]), came from the ancient German personal name Hellmann, formed by adding two bases. The first stem, the German word Hell, means "helmet, protection". The second stem, mann, is included as a component in many ancient Germanic names and nicknames and means "man, person." Thus, the name and the surname Gelman (Hellmann) created on its basis can be translated as "protector".

However, the name Gelman may also be of Jewish origin. Most of the Jewish surnames were created in the 17th-19th centuries as a result of state acts that ordered everyone who did not have hereditary family names to urgently acquire surnames. This happened in 1797 in Austria, in 1807 in Germany, in 1845 in Russia. Jewish surnames, as a rule, were created according to the models of the country where the family lived at that moment. Surnames created in the German or Austrian lands resembled or repeated German surnames in form, as they were either borrowed from German or created in the Yiddish language, which arose on the basis of medieval German dialects. Jewish surname Gelman (Gelman), which arose in early XIX century, descended from the male Jewish name Gelman, borrowed from the Germanic peoples back in the Middle Ages. Initially, this name was used as a kinuy (common name) of the Hebrew name Shmuel, but later acquired an independent meaning and distribution.

Obviously, the Gelman family naming has rich history and can tell a lot of interesting things about the peculiarities of creating surnames among different peoples.

Sources: Dictionary of American Family Names, Oxford University Press. Big German-Russian Dictionary. M., 1969. Kryukov M.V. Systems of personal names among the peoples of the world. M., 1986. Brief Jewish Encyclopedia. Jerusalem, 1992. Russian Jewish Encyclopedia. M., 1994. Unbegaun B.O. Russian surnames. M., 1995.