Question: Is there any way to prove if a suspected Pollock painting is authentic?
About the article "Jackson Pollock", section "Authenticity issues".

Candidate passages:
On Nov. 17 2005 from the museum two works, a Jackson Pollock painting and pop artist Andy Warhol’s 1984 "Le Grande Passion", were stolen in a robbery involving ladders and a careful plan of attack.
Despite efforts to retrieve the works by both the FBI and the Scranton police, nothing has been returned to the museum.
After the theft there was some controversy relating to the origin of the Pollock.
The Everhart Museum released a statement saying museum officials believed the stolen painting was an authentic Jackson Pollock and the painting’s owner lent it in good faith.
The museum’s insurance broker called the Pollock piece a fake after appraisers could not authenticate it.
The Everhart continues to identify the painting as Mr. Pollock’s 1949 "Springs Winter".
The lender of the work said the correct title is "Winter in Springs". 
Pollock was introduced to the use of liquid paint in 1936 at an experimental workshop in New York City by the Mexican muralist David Alfaro Siqueiros.
He later used paint pouring as one of several techniques on canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I."
After his move to Springs, he began painting with his canvases laid out on the studio floor, and he developed what was later called his "drip" technique.
He started using synthetic resin-based paints called alkyd enamels, which, at that time, was a novel medium.
Pollock described this use of household paints, instead of artist’s paints, as "a natural growth out of a need".
He used hardened brushes, sticks, and even basting syringes as paint applicators.
Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term action painting.
With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas.
By defying the convention of painting on an upright surface, he added a new dimension by being able to view and apply paint to his canvases from all directions.
A possible influence on Pollock was the work of the Ukrainian American artist Janet Sobel (1894–1968) (born Jennie Lechovsky).
Peggy Guggenheim included Sobel's work in her "The Art of This Century Gallery" in 1945.
With Jackson Pollock, the critic Clement Greenberg saw Sobel's work there in 1946.
In his essay "American-Type Painting," Greenberg noted those works were the first of all-over painting he had seen, and said that "Pollock admitted that these pictures had made an impression on him".
While painting this way, Pollock moved away from figurative representation, and challenged the Western tradition of using easel and brush.
He used the force of his whole body to paint, which was expressed on the large canvases.
In 1956, "Time" magazine dubbed Pollock "Jack the Dripper," due to his painting style.
:My painting does not come from the easel.
I prefer to tack the unstretched canvas to the hard wall or the floor.
I need the resistance of a hard surface.
On the floor I am more at ease.
I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be "in" the painting.
:I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc.
I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added.
:When I am "in" my painting, I'm not aware of what I'm doing.
It is only after a sort of 'get acquainted' period that I see what I have been about.
I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.
I try to let it come through.
It is only when I lose contact with the painting that the result is a mess.
Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
::—Jackson Pollock, "My Painting", 1956 Pollock observed Indian sandpainting demonstrations in the 1940s.
Referring to his style of painting on the floor, Pollock stated, “I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting.
This is akin to the methods of the Indian sand painters of the West.” Other influences on his drip technique include the Mexican muralists and Surrealist automatism.
Pollock denied reliance on "the accident"; he usually had an idea of how he wanted a particular piece to appear.
His technique combined the movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas.
It was a mixture of controllable and uncontrollable factors.
Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.
In 1950, Hans Namuth, a young photographer, wanted to take pictures (both stills and moving) of Pollock at work.
Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished.
Namuth's said that when he entered the studio:In the 21st century, the physicists Richard Taylor, Micolich and Jonas studied Pollock's works and technique.
They determined that some works display the properties of mathematical fractals.
They assert that the works expressed more fractal qualities as Pollock progressed in his career.
The authors speculate that Pollock may have had an intuition of the nature of chaotic motion, and tried to express mathematical chaos, more than ten years before "Chaos Theory" was proposed.
Their work was used in trying to evaluate the authenticity of some works that were represented as Pollock's.
Other contemporary experts have suggested that Pollock may have imitated popular theories of the time in order to give his paintings a depth not previously seen. 
In this section of the book, Goodman calls attention to a peculiar problem in the philosophy of art: why is it that a painting can be forged while a piece of music cannot?
After verifying that there is indeed an important aesthetic difference between an original and a forgery and clarifying its nature, Goodman suggests an answer to the question.
His answer is that works in a form of art can be forged if and only if ("iff") there is no possible notation to specify which are and are not authentic works.
In other words, a piece of music can be written down as a score, so any performance which corresponds suitably to the score is counted as authentic; there is no such notation to define what and what isn't an authentic instance of a painting, so a painting can be forged. 
Pollock graduated from the Ontario College of Art (OCAD) in 1954 and subsequently studied at the prestigious Slade School of Fine Art in London, England.
Afterwards, he returned to Canada and was employed as a colour consultant for a paint company.
Pollock's employment was terminated as he had a psychological breakdown which required hospitalization.
It was during his time in the hospital that Pollock experienced the benefits of art therapy which led him to open the Pollock Gallery in 1960.
In 1962, while teaching art classes in Northern Ontario (funded by the Ontario Government), Pollock met Norval Morrisseau, a local Ojibwa artist.
Pollock immediately recognized the artist's genius and arranged for a solo exhibition at his gallery in Toronto.
The response was a sold out show and brilliant reviews declaring Morrisseau a "genius."
Morrisseau went on to become arguably one of Canada's most important artists.
In 1966, the National Gallery of Canada acquired a print of Pollock's Remembered Image No.82 for its permanent collection.
Pollock had become well respected as an artist despite the overshadowing talent of Morrisseau.
Pollock's painting styles were abstract, abstraction and expressionism.
His later works were highly colorful, simple studies of scenes from his everyday life.
""I'm sure that, if I were to die tomorrow, the single most important thing people would remember me for is, damn it, the discovery of Norval Morrisseau.
I'd like to think that I've done other equally important things.
However, that's the way it is."
Jack Pollock (May 20, 1984)" Although Morrisseau made Pollock famous, the artist proved troublesome at times.
In 1973, Pollock found himself accused of theft by an Indian Affairs of Canada employee named Bob Fox who was "managing" Morrisseau on the side while the artist was incarcerated.
Morrisseau had instructed Pollock to take several paintings to Toronto to be sold and Fox accused Pollock of stealing said paintings.
Pollock was found innocent of the charge and in an unusual occurrence, he was complimented at length in the resulting Judgement issued by the Court.
""He's eccentric, mad, brilliant.
He's an extraordinary human being.
I love him and I can't stand him.
He's caused me more problems that any other single human being on the face of the earth.
Every once and a while he hates me, he'd screw me around.
But he loves me.
There's a bond between us.
Amazing.""
Jack Pollock (May 1, 1984) Despite his success and Canadian art world celebrity, Pollock admitted to not being a good business minded person.
Pollock began having serious health and financial difficulties in the late 1970s.
In 1976, after speculating on real estate located around the Art Gallery of Ontario (AGO) and mortgaged to the hilt, the AGO closed for construction and his real estate opportunity evaporated.
Under enormous financial pressure, he was admitted under psychiatric care to the Clarke Institute of Psychiatry.
He recovered after 3 months and re-opened the Pollock Gallery on Scollard Street where, rather than declare bankruptcy as suggested by friends, he began to repay his debts.
In 1979, with Canadian Broadcasting Corporation personality Lister Sinclair, Pollock had written and published one of Canada's most notable art books: The Art of Norval Morrisseau. 
The Deep is an abstract expressionist painting by American painter Jackson Pollock.
Pollock here uses black-white combination of dripping paint, only to break it down with touches of yellow.
There are many interpretations on meaning of painting, and painting's name, most often as deep and profound void or hole, a viscous cut or dying man, hence the name "The Deep".