Hebrew name Gelman. Origin of the surname Gelman
The conversation is conducted by E. Kutlovskaya
Elena Kutlovskaya. Preparing to meet with you, I asked one of my friends: how should I address Gelman - Marat Alexandrovich or just Marat? The answer was very funny: “What middle name could Marat Gelman have? It’s almost a pseudonym!” That is, your name has almost become a household name - a designation not only for a specific person, but also for a certain cultural phenomenon. Did you consciously strive for this? Have you taken any steps to promote your own name?
Marat Gelman . Let me start with the fact that it was my ill-wishers who were the first to work to promote my name. In the early 90s I organized an exhibition of Ukrainian artists. No one had brought them to Moscow before me, they were unknown to anyone. But the exhibition was a huge success. This caused natural irritation among people who were not interested in the emergence of something new. They formulated their attitude to what they saw as follows: “Well, the artists, without a doubt, are rubbish, but Gelman is very clever... How wonderfully he managed to present them and promote them!” Time passed, and life showed that the artists were good, and that is why the demonstration of their works in Moscow had a wide resonance. But in the very content of the Ukrainians’ creativity there was something new and, due to its novelty, unacceptable for 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 didn’t understand how to treat 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 entire fair was conceived as a gallery promotion. The project turned out to be so successful that after just two months of operation the gallery was called “the oldest.” And finally, third. For the first time, an art gallery was named after a living person, the name of its creator and director. It was outright impudence. At that time, art institutions were given general names, for example “Art-Moscow” or “Russian Art”. The producers hoped that any passerby, seeing the “Art Moscow” sign, would think that all Moscow art was concentrated here. But the civilized art world works differently. Personalities are important in it. I understood this well from the experience of communicating with some art institutions in Moscow and in Russia. 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 agreement, 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. 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 and promote it. All. In my opinion, there are no other promotion secrets. 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 have come 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 matter.
M. Gelman. Well, thank God.
E. Kutlovskaya. Did you strive for personal popularity?
M. Gelman. At some point. There are people who have one great destiny. 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 individual period I set myself new tasks. Until 1994, I tried to ensure that my name and activities were perceived in the solder - “gallery owner Gelman”. This is, as in the already well-known spikes - “the poet Pushkin”, “fruit apple”, etc. But starting in 1995, I began to be burdened by such an identity and try to somehow destroy it. You see, a gallery is a certain genre, and any genre always has limits. And they bothered me personally. For example, it is not customary for a gallerist to write articles because he is promoting a certain art. If this art is appreciated by someone else, that’s good, because a third-party assessment means the success of the gallery. But if you promote it yourself, sell it yourself and write it yourself - it’s bad, since this does not mean success at all, but on the contrary... I did a lot that fell outside the scope, and they told me: “You shouldn’t do that, because the gallerist According to his status, he has no right to do this." Let's say he organized museum exhibitions, that is, the gallery was actively operating outside the gallery, which is not customary. Museums typically collaborate with museums or freelance curators, and galleries typically collaborate with galleries. I couldn’t manage to stay within the boundaries of the generally accepted, and I actively broke them. Probably my temperament required more than what work in the gallery provided. I would especially like to emphasize: the image of the gallery is shaped by the artists, and it was they who shaped my image.
E. Kutlovskaya. How do you feel about the fact that your cultural actions have not been perceived outside the name of Gelman for a long time? 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 matter, I take it out of brackets. So, my activities as a consultant in politics are non-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 serious importance. There were people who said that you shouldn’t spend so much money on art. They can be understood, but I believe that you need to spend a lot of money 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 really going to do anything against such a grandiose anti-art?” That is, I was perceived as a person capable of resisting the cultural policy of Luzhkov - Tsereteli. That's what I tried to do.
E. Kutlovskaya. As you know, your attempt ended in nothing...
M. Gelman. Yes, it was a defeat. When we began our opposition speeches, I hoped that I would be able to raise a discussion in society about what art is and what it 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 world artistic culture. The failure was that we were not heard. And they have not been heard to this day, which is why our defeat continues... Contemporary art in Russia is considered exotic. Our public believes that only works of art of the past are real art. Any contemporary work that tries to speak in a modern language and about modern problems 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 destructiveness 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”, not having the opportunity to work due to Lysenko’s idiocy. Both science and the country suffered colossal damage. To exclude this from happening in art life, a civilized policy towards artists is needed. Because those of them who can be the glory of Russia and should, it would seem, have every possible support, turn out to be marginal in the social sense. They are excluded from the social process, as, indeed, is all contemporary Russian art. We are on the margins of public life. Another question is that an artist can always go to the West and realize himself there. Therefore, this situation for him is not as dramatic as for the personal destinies of scientists of the Stalin era. But for the fate of Russian culture, the marginal position of contemporary art is detrimental.
E. Kutlovskaya. If we agree with your point of view, then you, as a representative of modern art, as its symbol, should be marginalized. But that's not true. 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 to thirty artists of whom we can rightfully be proud, but practically no one knows them. Probably, the success of the Gelman Gallery is to some extent the result of betrayal, and not the result of service. So this is how it works. I too often leave the artistic space for some other social projects.
E. Kutlovskaya. For what? What does this change of territory give you?
M. Gelman. For what? Hard to tell. I am always trying to drag contemporary art into Russian society... To drag it along with me.
E. Kutlovskaya. You belong to the cultural and political elite of the country, but your intentions are often incomprehensible to the mass consumer, just as the contemporary art that you represent is incomprehensible to them. How can you drag something into society that is not in demand?
M. Gelman. Yes, there is a concept of elite, but this does not mean that the best should be the most understandable. It is no coincidence that such a word as “pop” was born. There is not the shortest path between elite artistic products and mass consumers, but it is inevitably overcome. Time passes, and what is so far perceived only by the professional environment will be perceived by the educated layer, 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 today's America's love for pop art and remember how the same Americans perceived it in the 60s. In order for the artist to be able to function normally, despite his incomprehensibility, a whole complex of relationships is built all over the world. I’m not talking about creating special conditions for everything new and unusual and providing such phenomena in huge quantities. The point 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 distorts the normal art process. You know, yesterday I watched “Fight Club” and suddenly realized that in the West, music, painting, and cinema are a single whole. They develop synchronously, sharing their skills and formal discoveries with each other. But in our country, modern fine art and literature live in one world, cinema in another, and music in a third. Maybe those festivals of contemporary art that we have been organizing lately will be useful, since they combine music, theater, and painting. Maybe our festivals will implicitly “force” different genres, different types of culture to borrow something new from each other.
E. Kutlovskaya. Some of your cultural events 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 Kiriyenko’s image interesting features and made it deeper. We must take into account the fact that in Russia everything always comes down to politics, so we all use each other. The issue is whether using someone else is hurting you and your business. 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 between them mean? This means that the politician does not interfere with the cultural ideology of the festival. That is, when everyone knows the extent of their 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. Until he interferes... Let's think about what the cultural elite is? This is a complex cultural machine, a unique mechanism, thanks to which out of millions of people who want to become artists, writers, and musicians, only twenty to thirty people are selected. But their names are the pride of the country. The cultural apparatus eliminates a huge number of people. Some drop out at the level of receiving education, others during their professional activities. But at the same time, the cultural machine gives millions examples of real art and directs the majority towards them. Thus, the cultural community gradually forms a 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 need for criticism, no need for magazines, no need for institutions. A unique cultural mechanism is no longer needed. For what? All over the world, elites interact with each other, and this interaction is based on the recognition and definition of boundaries of competence. In our country, favoritism flourishes, as in the Middle Ages, when it was given to the politician to determine what was built and erected around him. In my opinion, Russia generally has a medieval idea of spirituality. Here a person is processed by the environment in such a way that his craving for culture takes on 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 present the most interesting idea in modern language - they will spit on it. We have everything mixed up. Therefore, in my conversations 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 “sacred” past, it is free from the past and, thanks to the Internet, is well informed about current processes in 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 “gallery owner Gelman” connection began to weigh on you. 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, I think everything is fine here. As for the relationship 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 supporting a person who has some kind of horror on display in his gallery. I think we both can either lose or win from mutual cooperation. So far, it seems to me that the result is 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 has different political views. You see, when you do something, you always put people before a choice when they must make a decision in relation to you.
E. Kutlovskaya. But from a free artist you turn into a person engaged by a certain political structure. Aren't you afraid that your face will be slightly rubbed with it?
M. Gelman. There is a problem. And in some ways I'm really committed.
E. Kutlovskaya. Why "in some way"? In my opinion, in a certain...
M. Gelman. If this were bias in art, this 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 resonance, without public awareness. Today, in this awareness, one way or another, Marat Gelman is being crossed with the ideology of the Union of Right Forces. Doesn't this mean bias?
M. Gelman. If Marat Gelman had stopped making edgy projects because of this, then his face would have completely faded away. 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 live up to the hopes placed on him...
E. Kutlovskaya. How should he justify them? Become president?
M. Gelman. It's not about the presidency. A politician is always ready to compromise. But the artist is in the opposite situation; for him, a compromise is disastrous. In connection with this, there is a real danger of a repetition of what has already happened. Remember how we all fiercely supported Yeltsin? And then what happened?
E. Kutlovskaya. Why, then, would you risk connecting with politicians?
M. Gelman. I just told you about my loss in the Tsereteli story. This defeat happened because we were not ready to play a serious political game. And from Tsereteli’s side the game was played quite strongly. Unfortunately, in Russia all issues are intertwined, and if you enter into a fight without the necessary political and economic resources, losing is inevitable. Now Kiriyenko and I are creating a group that will formulate a draft cultural policy for the Union of Right Forces, and the Union of Right Forces will supervise and finance it. It just so happens that 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 pursue a civilized cultural policy capable of bringing art out of a marginal situation. Therefore, I am looking for such a force, such a structure that will become the engine of correct cultural policy in Russia. I don’t think that by betting on Kiriyenko I made a mistake, because choice - and for art as well - is the norm.
E. Kutlovskaya. That is, if the project of joint work with Kiriyenko turns out to be unsuccessful, you will be more than upset?
M. Gelman. Yes. But I want to make it clear: Kiriyenko is politics, not power. I will never integrate into the existing system, this is obvious to me. I don't belong there. But I want and can facilitate the appointment of certain people to various positions, using 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, and ethical boundaries of behavior of young and not so young people. Some part of our society is also focused on you. You model not only cultural processes, but with your behavior you determine value guidelines 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 worship 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 is nothing... The same thing that in the perception of many Marat Gelman has become the personification of modern art, I again owe to my opponents. The newspaper "Zavtra" long ago began to call all contemporary artists "helmanoids". I appreciate this very much, despite the insane responsibility placed on me by ill-wishers. But really, no matter what I do, I am constantly trying to create a certain cultural atmosphere. When communicating with business people, I try to somehow educate them. Of course, the manifestation of love from the younger generation warms the soul. I was once in Almaty, giving lectures, and suddenly a student came up to me and said that I had come 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 your youth you always want to gain authority from the older generation, but now, to a much greater extent, you want to be an authority figure for young people.
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 to some extent. I am currently preparing a project, which, in my opinion, will be interesting and in demand. This is an exhibition called “Dynamic Couples”, dedicated to the technology of cooperation, 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 does one invent and the other execute? How does the creative process occur for those who work in pairs? I personally think this project is relevant because it talks 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 single 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 creation meant. It dawned on me, inspiration descended - that’s all. And today, although the artist does not seem to teach anyone anything, does not call anyone to goodness or beauty (contemporary art is devoid of messianism), the meaning of creativity is knowable for the creator, who quite consciously sets himself specific professional tasks. Art has become more articulate and 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 changes in this area of artist activity.
E. Kutlovskaya. In your opinion, are the changes that have occurred a big plus for modern culture?
M. Gelman. I approach reality without signs. As a given. But I can say the following. Previously, we had, so to speak, an “attic,” and the cultural machine, taking something out of the brackets of relevance, “stored” it there. There was also an “office” where work was carried out and certain valuables were produced. They were then filtered by contemporaries, and those considered the best were transferred to the "library", and those considered the worst were thrown into the "attic". By the way, a whole myth was built on this: my contemporaries do not value me, but the future will bring my creativity out of the “attic” and understand my true meaning. And so it was. Each new generation first climbed up and found a lot of interesting things in the dust, indignant at their ancestors who threw away such a cool thing. In the age of urbanization, the “attic” has disappeared from our homes, and it turns out that what is not perceived today will irrevocably sink into oblivion. Therefore, we have a great responsibility - not to turn away from interesting new things, not to miss them, since the next generation will perceive the world through our eyes. It has no "attic". It's sad, but that's how it is. No pros or cons. Feeling my responsibility for the contemporary before the future, I am obliged to record the new in art, not allowing it to disappear. Everyone must speak out. In connection with this, I am also making a book for the exhibition, where the artists themselves talk about the technology of co-creation, about their art kitchen.
E. Kutlovskaya. Let's return to the question of the technology of your art image, about building your image in the cultural space. Does this process have an end goal?
M. Gelman. A difficult question... Art is the only form of activity in which for me there is no question “why?”. 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 a certain internal goal that I follow. As for my personal aspirations, they also do not have any ultimate goal. I have lived for some time, gained some experience, and 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. This means that all my beliefs are in some sense delusions. That is, for a short period, all goals are tactical and nothing more. But something else is important: I have a certain vision of the world, so I am constantly introducing it into other people. And this process cannot have any ending like “well, I finally implemented it 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, making art will be a personal goal today, tomorrow and the day after tomorrow. Although, you know, the story 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 young people 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.
Reveal the secret of the name GELMAN(in Latin transliteration GELMAN) looking at the results of calculations in numerological magic of numbers. You will discover hidden talents and unknown desires. You may not understand them, but you feel that you don’t know something about yourself and your loved ones.
The first letter G of the name GELMAN tells about the character
Your life consists of quickly passing joys and pleasures, so hurry up to live! You are paradoxical in love: on the one hand, you demand reliability from your partner, on the other, 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 your partner’s gloomy mood.Characteristics of the name GELMAN
- power
- comfort
- attention to detail
- good faith
- mystery
- talkativeness
- vitality
- insight
- passion
- emotionality
- vigor of self-expression
- artistry
- great ingenuity
- logics
- pettiness
- thoughtfulness
- shyness
- pedantry
- hard work
- interest in health
- sharp mind
- creative ambitions
- stacking
- ability to classify
GELMAN: number of interaction with the world “2”
People whose interaction number with the world is two rarely worry about little things. They are confident that any conflict can be resolved, and good relations with an opponent, even an unsympathetic and aggressive one, are the key to success in the common cause. In a company where a “poor student” appears, any business becomes common - such is the nature of this person; At the same time, what is important, he does not impose his will on anyone, does not get into quarrels, and only occasionally raises his voice. The “loser” has few friends, but all of them, as a rule, experience sincere affection for each other; in addition, a person with a D 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 on his neck.”
“Los” students are able to work in any team and, most often, have a beneficial effect on it, uniting colleagues and facilitating the establishment of informal relationships. True, the management will still have to keep an eye on the work process, otherwise one fine moment it may turn out that a person with a D alone does all the work, and the rest only give him advice - and not always, admittedly, good advice.
“Losers” are kind people and not indifferent to other people’s problems, which is why they sometimes suffer, becoming victims of cunning manipulators or completely ordinary scammers. At the same time, they have a good understanding of people, always analyze the situation, take into account a lot of factors, but 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 emulation. It is unlikely that anyone will be able to blame a person with a D for minding his own business, giving unsolicited advice and providing disservices. A “low student” will almost never remind you of the help 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 cannot always explain what exactly they expect from others.
The mood of “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 feeling of internal anxiety and the expectation of trouble.
GELMAN: the number of spiritual aspirations is “7”
Often their main occupation is mentoring, to which they devote maximum time. Such people are endowed with an extraordinary sense of tact, allowing them to convey their knowledge and experience, without imposing on others their own position and view of things as the only correct one.
In life, “Sevens” rely exclusively 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 their internal energy, they are able to cope with any problem on their own, without flaunting their own weaknesses. Often, unfamiliar people consider “Sevens” to be closed, gloomy, and even arrogant, 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 brag about their own achievements, but they also do not hide their success. Disharmony in their lives is often brought by the 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 choose. “Sevens” can doubt and hesitate for a long time, trying to predict possible “dangers.” As a result, after much thought, they often remain in their usual comfort zone.
Despite the fact that “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 form an opinion about a person “on the spot” and attract into “their circle” exactly those who are similar to the “Seven” himself: proud, intelligent, purposeful people with a sense of self-esteem.
People - “sevens” never lose self-esteem, despite the success they have achieved in life. Often their financial condition and career growth are very solid, but even if everything is not as luxurious as they would like, the “seven” will never sink to the bottom because of this. However, such people are not entirely composed of virtues: under certain life circumstances, they turn into real arrogant egoists, neglecting the interests and problems of even the closest people.
“Sevens” are very scrupulous and meticulous in choosing a life partner, often re-educating him throughout their entire life together. Disputes in their family are common and frequent, and the final word is the prerogative of the “seven”.
GELMAN: the number of true features is “4”
People born under the influence of four are smart, reasonable, practical, do not like to indulge in empty dreams and stand firmly on their feet. Their life is not idleness or 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 deviate from their chosen path and be content with little, but they quickly learn from their own mistakes and do not dwell on failures. They rarely accept help from others, preferring to achieve everything alone, which often serves as a serious obstacle to well-being.
A strong love attachment can become a serious problem for a person of four, especially if the chosen one turns out to be unworthy or simply too flighty. Having experienced an unhappy love, the quadruple is forever deprived of his former cheerfulness and self-confidence.
Endowed with extraordinary intelligence, this person does not disdain physical work, achieving success in mastering crafts and sports. Stability is extremely important for him: he always draws up a daily routine, plans his vacation in advance, trying to take into account all the nuances and taking into account the interests of his loved ones. This person readily helps his friends, although sometimes he cannot resist lectures.
People under the influence of four blindly trust their loved ones, which is why they sometimes become victims of their intrigues. Many cunning businessmen openly take advantage of the abilities of quadruples, being well aware of their diligence and hard work.
However, unfortunately, the most harm that people of the Four receive is from themselves, for example, when they chase big money, not allowing themselves to rest until they completely collapse from fatigue. It is important for them to learn how to properly distribute their own strength and notice more joyful moments in life.
Studying the history of the origin of the Gelman surname reveals 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 a common type of family names of German origin in Russia.
In Russia, where representatives of different 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 their surname reminded their Russified descendants of the origin of the founder of the family. Starting from the reign of Peter I, and further, in the 18th-19th centuries, many artisans, merchants, doctors, scientists, and 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 throughout all social strata. The basis of the generic naming could be a geographical name, an indication of the occupation, the name or nickname of the founder of the surname. Many German surnames arose from old Germanic names, many of which consisted of two stems, for example, Giselbert, Gerhard, Hofmann and the like.
The surname, which became known in Russian transcription as Gelman (until the middle of the 20th century in Russian it was customary to render the German sound [h] as [g]), comes from the ancient German personal name Hellmann, formed by adding two stems. 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 Hellmann, created on its basis, can be translated as “protector.”
However, the surname Gelman may also be of Jewish origin. Most Jewish surnames were created in the 17th-19th centuries as a result of government 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 Germanic 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 from medieval German dialects. The Jewish surname Gelman, which arose at the beginning of the 19th century, comes from the male Jewish name Gelman, borrowed from the Germanic peoples back in the Middle Ages. Initially, this name was used as a kinyuy (everyday name) of the Hebrew name Shmuel, but later acquired independent meaning and distribution.
Obviously, the Gelman family naming has a rich history and can tell a lot of interesting things about the peculiarities of creating surnames among different nations.
Sources: Dictionary of American Family Names, Oxford University Press. Large 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.
Here is a complete interpretation of the man's name Gelman, what is best suited, and what people who wear it should be wary of. You hear the sounds of your name every day; from early childhood they influence you in one way or another. Understanding what will attract good luck to you, knowing all aspects of your character, you will achieve a lot.
- Writing in Latin – Gelman
- The element that suits this name is Earth.
- Suitable colors – Pale pink, Dark blue, ultramarine
- Attracting life luck to this name, metal – Chrome
- Attracting good luck to the guy bearing this name, the tree is Laurel
- Suitable planet: Pluto
- Constellation bringing happiness - Sagittarius (Sagittarius)
- According to numerology named after Gelman, numbers that bring good luck to men – Zero
- You are better off eating meat
- Animal totems for the name Gelman– pheasant
- Stones - totems for people with the name Gelman - Carnelian
The meaning of the male name Gelman
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What suits people named starting with G in life - Gelman
- It is better if a man with the name Gelman was born under the zodiac sign - Scorpio (10.24 - 11.21)
- It will be most successful if a man with the name Gelman was born according to the Chinese horoscope in the year - Tiger - the years 1902, 1914, 1926, 1938, 1950, 1962, 1974, 1986, 1998, 2010, 2022, 2034
- It’s better to start things on Sunday
- The most favorable days of the year are January 16, March 19, August 16 and September 9
- Favorable time of day for you is late evening
- The dangerous age at which you need to be careful is in childhood and adolescence - seven years; in youth - thirty-five years old; in and maturity - fifty-five years, in old age - seventy-four years
- The name starting with the letter G - Gelman leaves an imprint on the health of these people, diseases of the lungs are especially dangerous
- People named Gelman are best suited for professions related to – Helping people
The main character traits of those named by the male name Gelman
This person approaches the choice of his soul mate thoroughly, thoughtfully, and sometimes it takes a lot of time. He can wait a very long time for his chosen one to develop feelings for him; it cannot be said that his love is weak, it’s just that not everyone manages to rekindle it. It is impossible not to trust him; he is honest, sincere and simple-minded. If he only looks at her as a mistress, then he will say so. Such people are remembered by everyone who encountered them, because they simply cannot be forgotten. No matter how turbulent their personal lives are, 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, stress and upheaval. They are either afraid until old age, or simply do not want to tie the knot. Be his woman and you won't find a better man. Obstacles only increase their persistence. A woman who tries to keep him by using threats and blackmail can get into serious trouble.
Despite his apparent healthy appearance, if a man named Gelman gets sick, 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 demanding taste. A cheerful disposition accompanies him even in the most difficult moments. Afraid of making the wrong decision, they rely on logic and rationalism. Their life is almost certainly full of changes, unexpected events, contradictions, but a man named Gelman may have moments of complete calm. They often do charity work. They can live well as a bachelor for the rest of their lives. This person has an incredible will and 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 the full date of birth and first name, patronymic and last name, if you need this, VISIT THIS PAGE.
The vertical column of the table (top), select your (or a person with a name starting with the letter G - Gelman) month of birth, the horizontal (side) line is aspects of character. Their intersection will show a coefficient from 1 to 100, the higher the value, the better.
| January | February | March | ||||
| Strength of will | 96 | 3 | 52 | |||
| Energy | 37 | 26 | 18 | |||
| Learning ability | 65 | 6 | 69 | |||
| Hard work | 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 | |||
| Determination | 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 | |||
| Learning ability | 70 | 44 | 89 | |||
| Hard work | 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 | |||
| Determination | 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 | |||
| Learning ability | 4 | 8 | 36 | |||
| Hard work | 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 | |||
| Determination | 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 | |||
| Learning ability | 48 | 80 | 89 | |||
| Hard work | 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 | |||
| Determination | 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 | |||
Compatibility of men with the name Gelman in relationships
This table shows the love compatibility of people named Gelman, depending on their birthday. The vertical column (on top) is your zodiac sign, the horizontal (on the side) line is your partner’s horoscope sign. Their intersection will put the extent and aspects of the relationship into perspective.
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| Fish | Aries | Taurus | ||||
| Pisces (19.02 - 20.03) | bad feelings | long life | money will separate you | |||
| Aries (21.03 - 20.04) | joyful experiences | part as enemies | good together | |||
| Taurus (21.04 - 20.05) | rich house and joy | disappointment | be together for a long time | |||
| Gemini (21.05 - 20.06) | good | vain dreams | calm home | |||
| Cancer (21.06 - 22.07) | empty worries | rich house and joy | Everything will be fine | |||
| Leo (23.07 - 22.08) | contempt | not a 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 (11/22 – 12/21) | bad | financial difficulties | difficult relationships | |||
| Capricorn (December 22 – January 19) | good family | happiness, but not for long | nervousness for you | |||
| Aquarius (22.01 - 18.02) | acrimonious relationship | calm home | money will separate you | |||
| Twins | Cancer | a lion | ||||
| Pisces (19.02 - 20.03) | contempt | acrimonious relationship | bad | |||
| Aries (21.03 - 20.04) | hatred and quarrels | excellent | joyful experiences | |||
| Taurus (21.04 - 20.05) | bad feelings | bad | passion and jealousy | |||
| Gemini (21.05 - 20.06) | you shouldn't start a relationship | well-being and prosperity | bad | |||
| Cancer (21.06 - 22.07) | common 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-lived love | part as enemies | |||
| Libra (24.09 – 23.10) | good | long relationship | disappointment | |||
| Scorpio (24.10 – 21.11) | Not recommended | wasted worries | nervousness for you | |||
| Sagittarius (11/22 – 12/21) | hassle for both | money will separate you | financial difficulties | |||
| Capricorn (December 22 – January 19) | well-being and prosperity | nervousness for you | good family | |||
| Aquarius (22.01 - 18.02) | short-lived 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 (21.03 - 20.04) | difficult relationships | you shouldn't start a relationship | long life together | |||
| Taurus (21.04 - 20.05) | rich house and joy | long life | hatred and quarrels | |||
| Gemini (21.05 - 20.06) | you shouldn't start a relationship | it will be better | disappointment | |||
| Cancer (21.06 - 22.07) | nervousness for you | long life | hassle for both | |||
| Leo (23.07 - 22.08) | good family | bad feelings | often misunderstandings | |||
| Virgo (23.08 - 23.09) | wasted worries | passion and jealousy | acrimonious relationship | |||
| Libra (24.09 – 23.10) | love and happiness | it will be better | you shouldn't start a relationship | |||
| Scorpio (24.10 – 21.11) | adoration and love | love and happiness | excellent | |||
| Sagittarius (11/22 – 12/21) | long life together | Not recommended | difficulties | |||
| Capricorn (December 22 – January 19) | peace in the house | melancholy and routine | nervousness for you | |||
| Aquarius (22.01 - 18.02) | financial difficulties | you shouldn't start a relationship | part as enemies | |||
| Sagittarius | Capricorn | Aquarius | ||||
| Pisces (19.02 - 20.03) | disappointment | good | financial difficulties | |||
| Aries (21.03 - 20.04) | parting | difficult relationships | short-lived love | |||
| Taurus (21.04 - 20.05) | love and happiness | peace in the house | common dreams | |||
| Gemini (21.05 - 20.06) | empty worries | not a boring life together | you shouldn'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 quarrels | nervousness for you | bad feelings | |||
| Libra (24.09 – 23.10) | difficult relationships | happiness, but not for long | nervousness for you | |||
| Scorpio (24.10 – 21.11) | parting | excellent | it will be better | |||
| Sagittarius (11/22 – 12/21) | 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 | not a boring life together | |||