The development and evolution of modernity in the field of painting restoration can be attributed to the influence of various philosophical schools and perspectives. During the 1960s and 1970s, minimalism played a significant role in shaping the theoretical foundations of restoration. This research aims to undertake a comparative and analytical study between minimalism and restoration concepts during the mid-20th century. Two distinct interpretations of minimalism's impact on restoration can be identified: "minimum intervention in historic monuments" and "minimalist approaches to preserving the original condition and addressing additions." Consequently, the research question posed is: "Can a logical connection be established between minimalism and restoration ideas about paintings in the 1960s and 1970s?" Based on the aforementioned, the research question is: "Can a coherent connection be established between the minimalist movement and the restoration concepts of the 1960s and 1970s in the context of paintings?" To accomplish this objective, a descriptive-analytical approach has been adopted to investigate the impact of minimalism on the theoretical underpinnings of restoration, while considering the existing literature on restoration theory from that period and instances of restored artworks. Ultimately, this study aims to demonstrate that both ideologies intertwined and harmonized seamlessly with the principles advocated by the minimalist school, with both realms drawing inspiration from this innovative perspective in the visual arts and its application to the restoration of paintings.
 
Introduction
The social, cultural, and artistic patterns and structures have always been shaped by philosophical influences. These influences form the basis of various schools of thought within human societies, and they stem from the philosophical structures and intellectual foundations of these societies. In the area of visual arts and architecture, the guiding principle of the 1960s was minimalism. Minimalism emerged as a significant movement after World War II, alongside a multitude of philosophical and political artistic schools and figures. It can be seen as a chapter in the journey towards modernity. Embracing the slogan "Less is more," minimalism aimed to develop approaches that prioritize the essentials in life.
Consequently, they abandoned the idea of eliminating all the intricate details and additional perspectives in art and instead focused on presenting techniques that emphasized the essence and abstraction of artworks, aiming to prevent any unnecessary expansion or exaggeration. Considering the restoration of cultural and historical artifacts, significant developments occurred following the initial principles established in the 20th century's modern world. Particularly during the post-war era and the mid-20th century, intellectuals such as Cesare Brandi played a pivotal role in advancing its theoretical foundations. It was during the 1950s and 1960s that the field found common ground with the minimalist movement.
It is possible to argue that following the complex maze of extensive intervention and occupation in historical pieces, the techniques that paved the way for the full restoration of a painting, with the introduction of new minimalist and spatial ideas in the 1960s, were discovered in Italy and North America. These endeavors resulted in the establishment of principles and fundamental approaches in painting restoration during the 1970s, to the extent that they were considered and applied as essential principles until the late 20th century. The novel principles and methodologies they embraced included strategies to prevent color balancing techniques, refrain from complete reconstruction methods, avoid interpreting and finishing the work by the restorer, eliminate restoration additions, and focus on the inherent qualities and authenticity of the original material of the artwork. Furthermore, the concept of "minimal possible interference" in historical works emerged as the most significant philosophical aspect and the cornerstone of the theory envisioned by restorers concerning paintings.