Further, it is not to deny the North artistic genius. It is, if anything, the Italians who created modern sensual but despiritualized art.
How about this:
At around AD 1500, the Christian Civilization took a turn from the synthetic to the analytic. Things became compartmentalized into: this is art, that is spiritual, and that is decorative. Also, this is church, that is state. This is business, that is charity. Art goes to museums, spiritual goes to churches, decoration is used but ignored. Art in church is very nice but it really belongs to a museum. A cross in a museum is a historical artifact, with a label. The Nelson-Atkins museum in KC has a full-wall altar and a finger of St. John the Baptist; I am the only one there praying. The ability to talk to an icon was lost, and with it the art of prayer was lost.
The Smolensk icon is one of the less popular ones, with Christ shown ageless. I studied it, so I know. But one who has not studied looking at it still sees a mystery, like you said, giant woman with a small balding man. That's it: the sign that is the the thing signed. Look in awe.
Well said annalex. I was about to write something very similar only adding that my literacy in no way impedes my love, and usage of icons in my spiritual life.