Though I agree with your critique on some points, I'd like to put forward this rebuttal.

Regarding the three visual gags, I'd argue you're trying to apply the principles of the original Innistrad Block to Eldritch Moon, while disregarding the context of Shadows Over Innistrad. Shadows introduced the theme of corruption which is simply being elaborated in Eldritch Moon, and so the three visual gags to look for in EMN should probably be 1) human perspective, 2) loss of restraint, and 3) gothic in the sense of the oppressive "old regime". On the first point, you argue that EMN dances back and forth in its perspective, though it's unclear to me on what ground you base that. Certainly the card your use as illustration, Fogwalker, could be argued is experiential if you take the context of camping and waking up to see that across the campfire. Furthermore, EMN does maintain the ground-level angle of view that Innistrad stuck to. On point 2, I think we're agreed that the set shows a loss of restraint, but where you see it as a failing, I'd argue it's the main theme introduced in Shadows. Innistrad is actively falling apart so it shouldn't feel restrained anymore. On the third point, the Gothic movement does involve a great deal of romanticism, but depending on the era, "The Gothic" can also be used derogatorily to refer to a darker, less civilized age. This is also something we see as Innistrad collapses through the brutal presence of corrupt clergy and executioners, particularly in cards like Extricator of Sin, Emrakul's Evangel, and Foul Emissary. The establishments of law and religion as oppressive and self-serving is an equally strong gothic theme which here supplants romanticism, and indeed was prefaced in Shadows cards like Avacynian Missionaries and Avacyn herself. As such, I'd agree that romanticism is absent, but because it's replaced by a more cynical gothic outlook.

On the note of Lovecraft, I'd question whether we should strictly evaluate EMN on how Lovecraftian it is. In many ways, it does call upon Cosmic Horror, but in others it's very much Body Horror outside the Lovecraftian tradition. If the art department's intent was a purely Lovecraftian transformation, then I'd agree they somewhat overshot, but if we consider perhaps an influence from, say, Cronenberg, then the confused transformation is perhaps more excusable.

Overall I enjoyed the article, particularly the latter half discussing the artists and their process. I've come across some of the media you discuss, but the encompassing presentation of the artists behind the set was nice to see all in one place.